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 §

THE MORNING MISTS ON THE RIVER

 DESCRIPTIVE AND HISTORICAL CATALOGUE
Or

A COLLECTION

OF

JAPANESE AND CHINESE PAINTINGS

IN THE

BRITISH MUSEUM.

BY

WILLIAM ANDERSON, F.R.C.S.

|

PRINTED BY ORDER OF THE TRUSTEES.

LONDON:
LONGMANS & CO., Paternoster Row; B. QUARITCH, 15, Piccaprixy;
TRUBNER & CO., 57 & 59, Lup@ate Hirt.
1886.

T. TAR AVANAGT.
二
| 者
fg
5 asi2 al 各 aun
 PREFATORY NOTE.

THE extensive collection of Japanese and Chinese paint-

ings formed by Mr. William Anderson was purchased
for the British Museum in 1882. The following Cata-
logue, compiled by Mr. Anderson with the help of the
best native and other authorities, and now published by
the Trustees, both furnishes the necessary guidance for
the study of the collection, and contains the most com-
plete account which at present exists of the general
history of the subject.
SIDNEY CoLVIN.
 4 n | ehipete
e
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ey AVish
ao
vt iyi eo:

oeeel‘hes
ee) oT eee

| seoin
 PREFACE.
一 -一 4 一 一 一

Tue paintings and drawings described in the following pages were

brought together in the course of a residence of over six years in
Japan, for the purpose of illustrating an ancient and remarkable
phase of art in its historical, intellectual, and technical develop-
ments, and the principal motives by which it has been inspired.
The great majority of the works are Japanese, but a number of
ancient and modern Chinese pictures have heen added to demon-
strate the relationship between the arts of the sister empires.
In the construction of the catalogue it has been judged advisable,
in view of the novelty of the subject to Western readers, to give a
larger amount of general explanation than would be necessary in a
similar work on European art: the pictures have been classified
according to schools, and to each group is prefixed an account of
the main facts in the history of the school, with a list of the
principal artists whose names have found a place in native
biographical records; and, lastly, the legendary and other motives
have been dealt with more or less in detail. It was originally pro-
posed to introduce a preliminary sketch of the history, technique,
forms, and characteristics of Sinico-Japanese painting, together with
a review of the various applications of pictorial design; but as such
an essay would have led to an inconvenient increase in the bulk and
expense of the volume, and was judged to be more sujtable to a
private undertaking, I have therefore made it a separate work,
incorporating with it such extracts from the catalogue as might
be necessary to give completeness to the historical section, and
illustrating it with reproductions of the more typical examples of
the art. It is now in course of publication by Messrs. Sampson
Low & Co., under the title of “The Pictorial Arts of Japan.”
The present collection, although comprising representative speci-
mens of all the various schools, must be regarded only as a nucleus,
VI PREFACE.

to which it is hoped large additions will hereafter be made; and

what is here written is but introductory to the more extended con-
sideration that the subject must receive in the future. As time
goes on and more public collections are formed, Sinico-Japanese
art may be expected to become a recognised branch of study in
the West, where now it has received little attention except from a
few ardent collectors and investigators, amongst whom may be
named Messrs. Burty, Duret, Cernuschi, Gonse, Montefiore, and
Bing in France; Drs. Gierke and Naumann in Germany ; Professor
Morse and Mr. Jarves in America; Captain Brinkley,’ Professor
Fenollosa, and Mr. Gowland in Japan; and Messrs. A. W, Franks,
E. Gilbertson, A. B. Mitford, Ernest Hart, T. W. Cutler, G. A.,
Audsley, J. L. Bowes, F. and E. Dillon, W. C. Alexander, H. $8.
Trower, and Sir Rutherford Alcock in this country. :
It may be: necessary to state that a small portion of the informa-
tion in the following pages has already appeared in the Transactions
of the Asiatic Society of Japan for 1878. This contribution was,
I-bélieve, the earliest effort made to collect and record the main
facts in the history of Japanese Pictorial Art. 8
It only remains for me to mention the obligations under which
I have been placed in the course. of my researches. I have to
express my grateful thanks to Mr. Ernest Satow, O.M.G., formerly
Japanese Secretary to the British Legation, now H.M.’s Minister to
Bangkok, who has furnished me with a large amount of valuable
information, and has placed at my disposal his wealth of learning in
the Japanese language, arts, and literature with a liberality that
can never be sufficiently acknowledged; to Mr. A. W. Franks, F.R.S.,
whose advice and experience have lent all that is of value in the plan
of this work ; to Professor Douglas, for the removal of the numerous
difficulties that have arisen in the transliteration of the Chinese
names; to the Rev. Bunyiu Nanjio for the elucidation of many,
obscure points in the section of Buddhist art; to Mr. K. Miyakawa of
the Japanese Legation in Paris, and Mr. T. Watasé of the Japanese
Commission to the Inventions Exhibition, for important aid in
connection with the supplementary index of artists’ names; and
finally to the present and former Keepers of the Department of
Prints and Drawings for the unlimited facilities extended to me
throughout my labours in the British Museum. I am also indebted
for additions to the collection to Mr. Franks, who, has contributed
 PREFACE. Vil

numerous and important specimens to the Chinese section, the Hon.

James St. Vincent de Saumarez, Mr. Satow, Mr. Charles H. Read,
and Mr. E. Gilbertson.

BIBLIOGRAPHY.
The following is a list of the principal books referred to in the
compilation of the Catalogue. Most of these volumes may be seen
in the collection of Japanese and Chinese literature in the Museum.
1. Books containing lists of artists :一

Honcho gwa-shi. 6 vols. 1693. A list of Japanese artists by Kano

Yeind. The last volume contains many reproductions of seals and
signatures.
Man-po zen-sho. 14 vols. 1694. <A portion of the work is devoted to
short notices of Japanese and Chinese painters, and includes many
copies of seals and signatures.
K6-cho mei-gwa shit. 5 vols. 1818. Notices of Japanese painters.
Gwajo yoriaku. 2 vols. 1850. Notices of Japanese painters. The
second and more useful volume refers chiefly to the artists who
worked after the middle of the last century.
Ukiyo-yé riu-k6, MS. Revised edition, 1844, A valuable account of
the artists of the popular school.
Sho-qwa shit-ran. 1836. An imperfect and ill-arranged list of Chinese
and Japanese painters and calligraphists.
Sho-gwa kai sui. 3 vols. 1883. Engravings from sketches by modern
Japanese artists, with short biographical notices.
Sho-gwa zen sho. 10 vols. c. 1862. Copies of seals of Japanese
painters, &c.
Kun in ho-sho. 1810. Copies of seals of Japanese and Chinese painters
and calligraphists, with supplement.
Gwa-ko sen-ran. 6 vols. 1740.. Reproductions of celebrated pictures,
including also a genealogical table of the artists of the Kano school
and many reproductions of seals and signatures.
Gwayin riaku nempio. 1882. A list of Japanese artists, chronologically
arranged.
Gen-Min-Sei sho-gwa roku. 1841. A list of Chinese artists of the Yuén,
Ming and T'sing dynasties.

2. Books containing illustrations of familiar legendary, historical,

and other motives :—
Kokon Bushido édzukusht. 1685. Scenes in the lives of famous warriors.
Illustrated by Hishigawa Moronobu.
E-hon Ho-kan. 10 vols. 1688. Miscellaneous legends. Illustrated by
Hasegawa Toiin.
ek } PREFACE.
‘Nendaiki gwa shd. 7 vols. 1692. Scenes of history.
B-hon koji dan. 8 vols. 1714. Miscellaneous legends. Illustrated by
‘Tachibana Morikuni.
Bunrwui é-hon ridzai. 10 vols. 1715. Stories of Chinese worthies.
E-hon shahd bukuro. 9 vols. 1720. Legends, &c. Illustrated by
Tachibana Morikuni. —
E-hon Tsi-ho-shi. Legends, &c. 9 vols. 1725. Illustrated by Tachi-
bana Yuyetsu (Morikuni).
Gwa-ten tsit-kd. 10 vols. 1727. Legends, &c. Illustrated by Tachi-
bana Morikuni.
Yokidku gwa-shi. 10 vols. 1732. Dramatic stories. Illustrated by
Tachibana Morikuni.
B-hon Oshukubai dzu-kai. 7 vols. 1740. Legends, &c. Ilustrated by
Tachibana Morikuni.
E-hon Yamato hiji. 10 vols. 1742. Legends. Illustrated by Nishi-
gawa Sukénobu.
E-hon Jikishi-ho. 9 vols. 1745. Legends. Illustrated by Tachibana
Morikuni.
Bokuw6 shin-gwa. 1750. Legends. Illustrated by Hogen Shunboku.
E-hon Izana gusa. 5 vols. 1752. Stories of Japanese heroes. Illus-
trated by Tsukioka Tangé.
E-hon Musha Tadzuna. 3 vols. 1754. Stories of heroes. Illustrated
by Tsukioka Tangé.
Onna Musha kurabé. 38 vols. 1766. Stories of noted women. IIlus-
trated by Tsukioka Tangé.
Minamoto Raiké Mukashi-monogatari. 1786. The Story of Raikd. 了 lus-
trated by Shimokawabé Jiusui.
Ni-jiu-shi Ko. 1792. The Twenty-four Paragons of Filial Piety. Ilus-
trated by Giokuzan.
Yush6d Ressen zen den. 10 vols. 1651. A reprint of a Chinese work
descriptive of the Taoist Rishis. With quaint illustrations.
Ressen den. 5 vols. 1810. A more recent work of the same kind.
Ressen dzu san. 8 vols. 1776. Portraitures of Taoist Rishis by
Gessen.
E-hon Suiko den. 1829. Chinese heroes and heroines. Illustrated by
Hokusai.
E-hon Chii-kid. 1834. Examples of fidelity of retainers. Illustrated
by Hokusai.
Hi-yu dzu-yé. 1834. Military heroes of Japan. Illustrated by Hokusai.
E-hon Saki-gaké. 1836. Japanese heroes. Illustrated by Hokusai.
Musashi-Abumi. 1836. Uniform with the last.
Wa-Kan homaré. 1836. Japanese and Chinese heroes. Uniform with
the above.
Nagashira Musha-burui. 1841. Classified illustrations of famous warriors.
Drawn by Hokusai.
E-hon kobun kokid. 1849. Legends. Illustrated by Hokusai.
Hokusai Mangwa. 14 vols. 1812 and later.
 PREFACE. IX

Buyu Saki-gaké dzu-yé. 2 vols. c. 1830. Exploits of Japanese heroes.

Illustrated by Keisa Yeisen.
Wa-Kan ei-yu. c. 1845. Stories of heroes. Illustrated by Utagawa
Kuniyoshi.
Zenken kojitsu. 20 vols. c. 1850. Notices of ancient and medizval
Japanese celebrities. Illustrated by Kikuchi Yésai.
Zokku hiak’ki. 3 vols. 1779. Popular demonology. Illustrated by
Toriyama Sekiyen.
Hiaku Monogatari. 5 vols. c. 1860. Weird tales.
Buzen Shichifukujin kd. 1701. An account of the Seven Gods of
Prosperity.
Butsu 26 dzu-i. Harly edition in 3 vols., 1752; later edition, in 5 vols.,
1797. A collection of Buddhist divinities.
Wa-Kan San-zai dzu-yé. 80 vols. 1714. The great cyclopeedia of Chinese
and Japanese lore.
Kimmé dzu-i. 8 vols. 1798. A small cyclopedia, with many illus-
trations.
Todo kimmé dzu-t. 6 vols. 1818. A cyclopedia of Chinese matters.
Besides these works, many illustrated romances published after
the commencement of the seventeenth century, such as the classical,
Isé, Genji, and Sumiyoshi Monogataris, and many of the modern
stories and translations of Bakin and his contemporaries, have been
referred to in association with art motives.
3. Books containing copies of noted Chinese and Japanese
pictures :一
Kakémono édzukushi. 1701.
Gwashi kwai-y6. 6 vols. 1707.
Wa-Kan mei-hitsu é-hon té-kagami. 6 vols. 1720.
Gwa-ko sen-ran. (See back.)
Wa-Kan mei-qwa yen. 6 vols. 1749.
Wa-Kan mei-hitsu gwa-yet.. 6 vols. 1750.
Honché gwa riu. 3 vols。 1758.
Wa-Kan shiti gwa yen. 5 vols. 1759.
Wa-Kan mei hitsu gwa-hd. 6 vols. 1767.
Wa-Kan mei-hitsu kingioku gwa-fu. 6 vols. 1771.
Kiyd-gwa yen. 3 vols. 1776.
Gwa-soku. 6 vols. 1777.
Shitichin gwa chd. 3 vols. 1803.
Keihé gwa-fu. 4 vols. 1804.
Hengaku ki-han. 6 vols. 1819-21.
Ttsukushima yé-ma kagami. 5 vols. 1833.
Man-pé zen-sho. (See back.)
Shinko jisshit. A large work upon Chinese and Japanese antiquities,
including some valuable reproductions of rare and ancient
paintings.
x PREFACE.

4, The principal European writings containing historical and

legendary references in connection with the motives of pictorial
art :一

Chamberlain, B. H. Translation of the Kojiki. Trans. Asiatic Society

of Japan. 1883.
Dickins, F. V.
Japanese Odes: A metrical translation of the Hiaku-nin shiu.
‘The Loyal League.’ A translation of the Chiushingura.
‘The Hundred Views of Fuji. A translation of the Fugaku hiah’kei,
with illustrations by Hokusai.
The Story of the Shiuten Déji. Transac. Asiatic Society, 1885.
Eitel, E. J. Handbook of Chinese Buddhism.
Griffis, W. E.
The Mikado’s Empire.
Japanese Fairy World.
Junker, F. A. Thee Geschichten. -
Mayers, W. F. The Chinese Readers’ Manual.
Mitford, A. B. Tales of Old Japan.
Pfizmaier, A. Aufzeichnungen aus dem Reiche Isé.
Pfoundes, C. Fuso Mimi bukuro. A Budget of Japanese notes.
Puini, ©. I sette Genii della Felicita. A translation, with many
valuable annotations, of a portion of the Hengaku ki-han relating to
the Seven gods of Prosperity. (See back.)
Rein, J. J. Japan.
Satow, E. M.
Article on Japanese Literature. Appleton’s Cyclopedia.
The Revival of Pure Shints. Trans. As. Soc. of Japan. Vol. 3.
The Shrines of Isé. Ibid. Vol. 2.
Satow and Hawes. Handbook for Japan.
Suyematz, K. Translation of the first portion of the Genji Monogatari.
Translation of the Takétori Monogatari. Mittheilungen der Deutschen
Gesellschaft fiir Natur und Vélkerkunde Ostasiens.

The transliteration of the Japanese, Chinese, and Sanscrit words

has been attended with much difficulty, owing to the absence in
each case of any universally recognised. standard. The reading of
the Japanese names has been based upon the phonetic system
adopted in Satow and Ishibashi’s dictionary; Mayers’ Chinese
Readers’ Manual has been followed as the chief guide in dealing
with Chinese names; and the rendering of the various Sanscrit
names in the Buddhist section has been harmonized as far as
possible with Hitel’s Handbook of Chinese Buddhism.
In the pronunciation of the transliterated Japanese names the
 PREFACE. x1

principal rule to be remembered is that the consonants are sounded

nearly as in English, the vowels as in French, except in the case
of u, which may be read as in German, or may become almost mute,
as afters and z. It is hardly necessary to state that the true sounds
can only be acquired by ear, but readers who are interested in the
subject will find more detailed information in the dictionary above
referred to.
It should have been mentioned at the head of the catalogue that
the measurements of the various pictures are recorded in inches, and
do not include the mounting.
WILLIAMX ANDERSON.
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二 brid.fuliF,dagh Evals OF TERED OGL Wi Brathay Fag 和 oe
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*
 LIST OF PLATHES.

1 Frontispiece. Lanpscare (No. 2726). By Surwocawa Bunrin.

2 Page 30. Tue Seven Gops or Goop Fortune.
ee Paes 本 ” ”
Sats ll SA Tur Firreen Sons or BENTEN.
5-6 ， 46. Tue SIXTEEN ARHATS.
ie Sh WAS Tue CHINESE DRAGON.
Being, mous Risuis (SENNIN).
Siete. “to; a

200 *; | 68. RISHIS AND SAGES.

11 ” 60. S’AKYAMUNI.
‘1a ay 4. KIcHIJIO Ten, Bisamon, Kwannon.
To base BS. Tur Twetve Diva Krvas.
14 3: ‘LOD, Tur Muet Hostu Gem.
15 gr “L1G, YOSHITSUNE AND BENKEI.
16 ye “LL. BENKEI AND 工 0SAB0.
17 oes EF es MyrnicaL Zoo.oey.
18 eh es 39 3

19 an white Tur Twenty-rour PARAGONS oF 了HILIAL Prery.

20 Ape. KANZAN AND JITOKU.
21 , 208. SHOKI. ASH6I0S.
22 » 249. GuostTs.
23 » 089. YoRIMASA AND THE NUYE.
24 End of vol. Tue TWELVE SIGNS or THE ZODIAC.
25-28 ”» SPECIMENS OF SEALS.
29-31 39
SPECIMENS oF SEALS AND SIGNATURES.
 ERRATA AND ADDITIONS.

Page 4, line 22, after “Déva Kings,” insert “(Ni O or Temple

Guardians).”
9, be]
12; and page 11, line 21 et seq. The names SOKEN
and Art, given by different authorities as those of
sons of Kanaoxka, belong to the same person Kun-
TADA, a8 stated on page 114, is now regarded as the
son of Ar and grandson of Kanaoxa. The name
“Kinugi,” quoted from the K6-ché met-gwa shit, 1s
undoubtedly a misreading for “ Kixmocui.”. The suc-
cession should have been as follows :—AImI, or SOKEN,
son of Kanaoxa; Kintrapa, son of AIMI; 及 INMOCHT，
son of Kinrapa. (I am indebted for these corrections
to Mr. T. Hayashi.)
44, 10 from bottom, for “ first,” read “ last.”
4
67, last line. For the first five words read, “his left side,
resplendent in.”
101, line 9, for “ Mirsu-suick,” read “MITSU-NORI.”
139, last lme but one, for “ ambassadors,” read “ embassy.”
163, line 15, for “ A little after,” read “ Before.”
L305. %; 7 from bottom, for “ Toxu-sar,” read “ 'ToKu-sEI.”
184, ,, 18, 》 for *“ I-soxu,” read “ JI-BoKu.”
29 ”
20, for “ Sud-suiu,” read “ Cud-sHiv.”
” ”
4 from bottom, for “S6-so,” read * Sa-so.”
LBS," 3; 11, for “ Gwan-sHI-cul,” read “ GU-AN-SHI-CHI.”
99 9
13, for “ K1-on,” read * K1-0.”
” “Ae
17, for “ SéKr-KoKu,” read “ SEKI-KEI.”
9 ”
9 from bottom, for ‘“ SAN-RIv,” read “ SAN-RIN.”
Ke 1, for “near the end,” read “ early part.”
138; 5 6, for “ SEN-SHIN-T0,” read “ SEN-HITSU-TO.”
” ”
7, for “ Curtsu-zan,” read “ I'rsu-zan.”
LS Ys.0es 4 from bottom, for “ Cuid-Kan,” read “ Cur0-K10.”
区 SA 11, for “ Muxu-aa,” read “ Moxu-Ga.”
区人 7 8, for “Sar-Haku,” read “ SoKU-HAKU.”
9, for “ Ki-yet,” read “SHIN-YEI
XVI ERRATA AND ADDITIONS.

Page 283, line 5, transfer “(d. 1756)” to end of line 7, and add,
“The latter was followed by TAN-RIN MORI-YoSHI 》
and he by 了 AN-BOKU MORI-KUNI.?”
2? strike out lines 13 and 14.
» line 18, add “ Died 1731, at the age of 65” (Hayashi).
9 21, add “ Died 1790, at the age of 60” (Hayashi).
299, 4, for “ Fus-wara,” read “ Fusi-wara.”
316, 17, after ‘“* Kano,” insert “ MicHI-Nosu or.”
332. 4, for -SHIG,” read “ -NoRI.”
415, 12 from bottom, for “ The painter of picture 8 in,” read
“One of the painters engaged in the decoration of.”
?37 416, 3 from bottom, add “ Died 1844, at the age of 64”
(Hayashi).
431, 11, for “ Toaaxu Ser SurKi,” read “ TogaKuset SHI-KIO.”
444, 3 from bottom, for “ Some,” read “ None.”
448, 4 from bottom, for ‘ CHIKUZEN-NO-SuK#,” read Eicuizen-
no-Suké;” for “Gan O, Tenkat O the honourable,”
read ** GAN-w0 TENKAI-WO the venerable.”
455, 1, after “ built,” insert “in a.p. 798.”
2? 2, strike out “ legendary.”
476, add “ Ko-ji. Retired scholar. (See No. 37 Chinese.)”
tb) », “ Wo. Appended in the later years of life to the personal
name, or a portion of the personal name, with the
signification of “venerable.” Thus Kano Shunboku
became known as Boku-wé6, Ganku as Gan-wé, Haritsu
as Ritsu-w6. The same character appears in Ka-wé,
Hokuso-wé. &c.”
489, » 11, after “ Stane Lane-iat,” read “ (JO-y6-BEr).”
 JAPANESE PICTORIAL ART...

EARLY HISTORY.

Tue written documents of the eighth and ninth centuries, which

comprise the oldest known records of the Japanese, make no
allusion to the existence of any phase of pictorial art before the
- fifth century a.p., although very ancient dates are assigned to some
other branches of art. The first painter immortalized in these
curious archives was a Chinese immigrant of royal descent, who is
included in the ‘Catalogue of Families’ (Shd-ji-roku, 814 A.D.),
under the names of NAN-RIT and SHIN-KI， This artist is said to
have come to Japan during the reign of the Emperor Yiriaku
(457-479 a.p.), and, like his apocryphal Korean predecessor Wani,*
was hospitably received by the ruling powers. He ended his days
in his adopted country, leaving descendants who for many genera-
tions held honourable positions in the Imperial service. The fifth
in succession from NAN-RID is especially noticed as having received
from the Mikado the title of Yamato Yéshi (painter of Japan), and
from the Empress Shotoku，in 770 a.p., the name of O-oxa No
Imrx1. The existence of this family may doubtless be admitted
as a fact, but unfortunately we are quite unenlightened as to the
nature of their artistic achievements.
It is probable, however, that Japanese art education made little
progress until the introduction of Buddhism in the middle of the
sixth century, when the early native workers, guided by Korean

* It is said that a Korean of this name came to Japan in 285 a.p., bringing
a number of Chinese books, and was appointed tutor to the Prince Imperial. The
commencement of intercourse with Korea is placed as far back as 147 B.C., but
neither this nor the previous statement can be received with confidence. The
obscure question of prehistoric art in Japan is discussed in the opening chapter
of the author’s work on the ‘ Pictorial Arts of Japan,’
B
2 JAPANESE PICTORIAL ART.

instructors, first tried their prentice hands upon Buddhistic pictures

and images, beginning, at the same time, to acquire a knowledge of
the more graphic Korean and Chinese styles of painting, as well as
of many other branches of art.
One of the least doubtful of the ancient pictorial relics still in
existence is a Buddhist mural decoration in the hall of Horitji
(Nara), which is said to date from the foundation of the temple in
A.D. 607, and is attributed to the joint labours of a Korean monk
and a famous sculptor named Tori Busshi (see p. 4). The general
character of this important work is shown by the tracing, pre-
sented to the collection by Mr. Satow (No. 148), but the indications
of the master hand, still visible in the original, are beyond the range
of an ordinary copyist. It will suffer little by comparison with the
later productions of the Japanese Buddhistic school, and presents
much resemblance, both in colouring and composition, to some of the
altar-pieces of the early Italian painters.
It has already been pointed out by the author (‘Trans. Asiat. Soc.
of Japan,’ 1878) that there are certain points of contact between the
arts of India and those of Japan; and M. Gonse (‘ L’Art Japonais,’
vol. i. p. 198, vol. ii. pp. 139 and 226) has indicated the possibility of
a Persian influence in Japanese decorative art. The connection
between India and Japan in Buddhist art is beyond doubt (see p. 13),
but there is equal certainty that it was established entirely through
the intermediation of China and Korea; for although Indian priests
have from time to time settled in Japan, one as early as A.D. 737,
there is no evidence of the arrival of any artist from that country,
nor are there any specimens of Indian art preserved in Japan that
are likely to have made an impression upon the possessors of such
gems as the Horitji mural painting and the sculptures of the
Two Déva Kings at Kobukuji (see p. 4).
The relation of the arts of Persia to those of Japan is of a different
kind. The assurance of such an authority as M. Gonse is sufficient
to establish the correspondence of certain details of ornament repro-
duced in Japanese paintings, textiles, and metal-work, with elements
found in Persian decorative design; but the examples adduced in
‘L’Art Japonais’ may all be traced to the Middle Kingdom, to which
it is known that Persia as well as Japan has been largely indebted
in the matter of ornamental art. This question is ably discussed
in a valuable article in the ‘Revue Critique’ (No, 1, 1885), and
 EARLY HISTORY. 3

attention is there drawn to the discovery of M. de Goeje (‘ Annales

de l’extréme Orient,’ vols. Ixvi.Ixxx. 1882-3), that the Arab and
Persian mariners of the first centuries of the Hegira were
acquainted with Japan under the name of Wa Kwak—an obvious
imitation of “ Wa-koku,” one of the many appellations of the Land
of the Rising Sun. The Japanese, however, while gratefully acknow-
ledging their debt to China, recognize no claims on the part of
Persia; and it may be safely asserted that if any direct artistic
relations have ever existed between the two countries, it is Japan
that has been the instructor.
Painting remained for a long period in the hands of Koreans and,
according to untrustworthy Church traditions, was largely contri-
buted to by the native leaders of the Buddhist religion. To these
may be added in the early part of the ninth century the artists of
the Kr line,* a court noble named Ono no Taxa-mura (d. 852), and
Yo-ruxv, afterwards called Kawa-nart of Kupara,f a Korean in
the retinue of the Emperor Saga (810-823 a.p.), whose fame, how-
ever, is almost wholly traditional, and rests chiefly upon a general
statement of his skill, and a story of a portrait that he sketched
of a truant servant, which led to the delinquent’s recognition and
capture. Ki NO Kana-waka is said to have painted pictorial decora-
tions upon the walls of an apartment of the palace, by the order of
the Emperor Nimmei, in 837 a.p.
This initiative and somewhat nebulous era in the history of the
art was brought to a close near the end of the ninth century.
The whole of the period had been oceupied in the absorption of
the spirit and practice of the Buddhist, Chinese, and Korean schools
of painting, and it had not yet, so far as we know, produced a
great artist of native extraction; but as the new era approached,
the culture of the educated classes in the country was reaching a
very high grade. The powerful compositions of Wu Tao-rsz’, and
probably of many others of the earlier Chinese and Korean artists,
were well known, and numerous able Korean painters living in the
country were spreading an acquaintance with the rules and pro-
cesses of their art; and coincidently with the rise of painting the
fine arts in general were making considerable progress.
* The members of the Ki family were named Kana-wWAKA, KAni-Taka, and
Kané-mocuti. Little is known of the two latter.
+ Kudara is the Japanese name of an ancient principality of the Korean peninsula.
B 2
4 JAPANESE PICTORIAL ART.

In keramics a great improvement had been effected :* the fabri-

cation of glazed wheel-made ware of good quality was carried on
in many provinces, and the industry was elaborately organized by
laws promulgated direct from the throne; but no attempt was yet
made, nor indeed for many centuries afterwards, to apply pictorial
design to the decoration of the produce.
The art of lacquering, which appears to have existed from the
latter part of the sixth century, had so far developed in the eighth
century by the admixture of gold-powder with the ordinary
materials, by inlaying with silver and mother-of-pearl, and by the
application of decorative pictorial designs, that it had risen from a
mere varnishing process into an art of no small esthetic value,
which the Japanese have since made peculiarly their own.
The early wood-sculptors were probably all idol makers, and
ranked as skilled artists, unlike the later decorative carvers, who
were artisans attached to the carpenters’ guild. The commence-
ment of the seventh century was marked by the appearance of
the celebrated Tort Bussut, a sculptor of Chinese descent, some of
whose works still exist; + and a century later the Japanese Krurpun-
KAIT and Kasuaa Bussur did much to advance the craft. To this
period also belong the extraordinary Korean images of the Déva
Kings, preserved in the temple of Kobukuji, in Nara—two life-
size figures, athletic in build, perfect in proportions, of marvellous
force of action, and presenting the remarkable feature of an accuracy
of observation in the superficial forms of anatomy that would do no
discredit to a Glycon or a Lysippus.
Working in bronze and other metal was carried on during this
period in close association with wood-carvings. It was, to a great
extent, employed for the same purpose, and, in the case of Buddhist
images, was in the same hands. Some of the finest specimens of
* Gidgi, a celebrated Korean priest of the seventh and eighth centuries (670-749),
is said to have introduced the potters’ wheel, but Mr. Satow has described amongst
the relics found in a tumulus in Omuro, in the province of Koédzuké, a wheel-made
pottery which must have been manufactured nearly six hundred years before the
Gidgi period, if the date assigned to the mound by the Japanese be correct. See
‘Trans. Asiatic Society of Japan,’ vol. viii.
+ At the temple of HOriiji near Nara are images of the four Déva kings
attributed to this artist. They are however somewhat disappointing, when the
fabulous reputation of their author is taken into account. He is also credited with
the execution, in conjunction with a Korean priest, of the important mural decora-
tion referred to on p. 2.
 EARLY HISTORY. 5

bronze idols in Japan were made before the end of the ninth century,
and one of these may be especially referred to, as an image
frequently described by European writers, the Nara Dai-butsu, a
gigantic figure of Vairdtchana, at the temple of Todaiji. This is
said to have been cast 749 a.p. by a Korean named Kimimaro, after
the Japanese founders had failed to accomplish the task.* There
is little to recommend the work, however, from the artistic aspect,
but the head of the figure is of comparatively modern workmanship.
The artistic working of arms and armour was of early growth.
Mr. Ninagawa says that the first application of gold and silver
ornamentation upon helmets, breastplates, &c., extends perhaps as far
back as the fourth century. The work was certainly in vogue in
the reign of the Empress Suiko (593-628), and later under Shomu
(724-756). In the older examples the decorations took the form
only of arabesque designs, but at a later period flowers, animals,
and other natural objects were also represented.
Embroidery was another of the accomplishments for which Japan
is indebted to the Koreans, or Chinese. The celebrated embroidered
‘Mandara’ of the nun Curusd Hime, which is fabled to have been
worked by the goddess Kwanyin, belongs to the middle of the
eighth century, and still earlier works of the same kind are attri-
buted to SHOTOKU TAISHI and others.
Calligraphy was held in the highest honour, and curious legends
celebrate the skill of Saoroxu TAISHI (seventh century) and Koso
DAISHI (eighth and ninth century) in the delineation of Chinese cha-
racters. It has always been regarded in Japan as a fine art ranking
on a level with painting, and there entitled its adepts to a repu-
tation undreamed of by the most ambitious of Huropean professors
of penmanship.
Buddhist architecture, based upon models furnished by the Chinese,
had already attained its highest point of excellence. Some of the
noblest temples in the country, such as that of Horiiji, were
erected before the ninth century.
It was not in art alone that marked progress had been made.
From the seventh century Japan had possessed fully organised
colleges, teaching Music, Astronomy, Mathematics, Medicine, Phi-
losophy, and other branches of learning which China and Korea

* See Satow and Hawes’ ‘ Handbook for Japan,’ p. 390.

6 JAPANESE PICTORIAL ART.

had placed within their reach. Printing was first used for the
production of copies of a Buddhist scripture (Vimala Nirbasa Sétra),
by order of the Empress Shotoku, in 764 a.p., but the process was not
applied to books till about 400 years later.* Literature had taken
its first flight, and many works upon History, Law, and other subjects
had been written. Hitomaro and Nakamaro, two of the poets of
whom Japan is most proud, had already passed away, but Narihira
and Ono no Komachif were still living; and poetical composition
upon the Chinese model had become an accomplishment in which the
wisest were ambitious to excel. Religion, which had been the first
motive power in overcoming the inertia of ignorance, had kept pace
with the march of cultivation, and the barbaric Shinté hero-worship
had been in great measure superseded by, or incorporated with, the
higher faith of Gautama, which the leading spirits of the country
had supported by an enthusiastic advocacy. In the ninth century,
too, the Imperial Court was enjoying its halcyon days. The Mikados,
leaving the cares of government in the hands of the Fujiwara nobles,
devoted their energies to the study of Buddhism and the advancement
of art and letters. Lastly, the people, already separated from the
military class (from tlie end of the eighth century), may be supposed,
in the absence of historical record, to have been prosperous and
contented; at any rate, they do not appear to have found occasion
to assert their existence in any manner disagreeable to their rulers.

Such, then, was the state of Japan when, in the latter half of the
ninth century, the tardy development of pictorial art entered a
new phase, owing to the impulse given by the works and example
of one of the greatest painters to which the country has given birth.
Kost no Kanaoxa rose into fame in the time of the Emperor
Seiwa (850-859). Born in the midst of an accomplished court, he
lacked neither opportunity for self-culture, nor encouragement in his
labours. He had access to the works of the best periods of Chinese
and Korean art, executed before the dilettanteism of the Southern
School had created a false ideal, and is said to have selected, as the

* Printing is said to have originated in China in the sixth century, under the
founder of the Sui dynasty. See Mr. Satow’s article in vol. ix. of the ‘ Transactions
of the Asiatic Society of Japan.’
+ Hitomaro died in 724, Nakamaro in 716, Narihira in 880, and Ono no Komachi
at an uncertain period in the ninth century (see note to No. 205). These are four of
the Lok’ ka-sen, the six poets of the first order.
 HARLY HISTORY. 7

model upon which his style was founded, the pictures of Wu Tao-'sz’,
the greatest painter of the T’ang dynasty. The extraordinary repu-
tation which KANAOKA acquired during his lifetime, and handed
down to posterity, unlike the artistic renown of SHOTOKU Tatsut, is
of a kind that leaves no doubt as to the reality of his talents,
although, like that of Cimabue, it may have been exaggerated
by circumstances. Like that of Kono Daisui, it is coloured by
a large admixture of fable; but the references to his works are
precise, and date from the period of their production; and, as he
appears to have taken no part in the politics, court intrigues, and
religious cabals of the time, his position was not sufficiently pro-
minent to bring an unearned fame. As might be surmised, how-
ever, few of his works have survived the lapse of ten centuries of
wars, revolutions, and minor disasters; hence the range of his
powers must be accepted, to a great extent, upon tradition, which
is only too liberal in his praise. He is said to have excelled in
landscapes and figures, and, as a painter of horses, his skill is com-
memorated by supernatural legends ;* but unfortunately no pictures
illustrative of his proficiency in these directions are in existence.
All that remain to represent his genius are a few Buddhistic paint-
ings, but some of these evidence powers of design and colouring
sufficient to dispel any suspicion that might be aroused by the
hyperboles of his contemporaries. The pictures most frequently
referred to in the records of his time were portraits of Chinese sages,
painted by command of the Emperors under whom he served, and
of these works several were preserved for many centuries until they
fell a sacrifice to fire, the great enemy of all the precious relics of
antiquity in Japan. |
We are indebted to an important contribution to the pages of
the Japan Mail (1884), by Mr. F. E. Fenollosa of Tokio, for some
* Every child in Japan has heard of the horse that Kanaoxa painted upon a
screen in the temple of Ninnaji, near Kioto, a figure into which the artist had
infused so marvellous a vitality, that in the hours of darkness it would quit its frame
and gallop wildly through the cultivated land around, until the indignant farmers
identified the mysterious depredator as the Kanaoka steed, by the damning
evidence of the mud that clung to the shapely hoofs after its return to pictorial
existence. ‘They ruthlessly blotted out the eyes of the picture, and from that
time the nocturnal excursions ceased. Another horse drawn by the same hand, and
kept in the Imperial Treasury, developed a similar inconvenient activity, and could
only be checked in its bad habit of devouring the lespedezas in the garden, by the
addition of a rope to the picture to tether the portrait within its frame.
8 JAPANESE PICTORIAL ART.

interesting remarks upon this point, which are best quoted in his
own words :一 “As to making a list of the genuine Kanawokas
existing in Japan, there has never been a single serious or trust-
worthy effort. The parts of Japan have been practically so isolated,
and owners have been so secretive with their treasures, that little
valuable cataloguing of the works of any artist has ever been
done... And even of the alleged Kanawokas well known in recent
centuries, there has been no unanimity among critics as to genuine-
ness. For us, the Shotoku Taishi in Ninnaji, Kioto, the Wind and
Thunder Gods in Raikoji, Bizen, and the Shi Ten O, formerly in
Todaiji, Nara, are not only the greatest unquestionable originals of
Kanawoka, but absolutely the most stupendous paintings in exist-
ence from a native brush, so far as our personal knowledge extends.
We ought perhaps to mention the famous standing Jizo belonging
to the Sumiyoshi family, as also the celebrated Rakan owned by
Yechimata. These are indeed very splendid pictures ; but as to their
authorship critics disagree. As for us, we have little hesitation in
saying that we consider them productions of a later and more
effeminate pen than that of Kanawoka. We think it quite probable
that the future will produce other original Kanawokas from their
present hiding-places, and, with those already known, make up a
total of ten or fifteen authentic works of the master.”
He died about the end of the ninth century. He had no rivals,
but early records have handed down the names of a few contemporary
artists, of whom the chief were the Emperors Upa and Rermn, and
Sucawara NO Micuizan& (popularly known by his posthumous title of
Tenjin Sama). The two former probably owe the preservation of their
artistic reputation to their rank, while the latter, who was celebrated
rather as a calligraphist, was one of those whom the Buddhist priest-
hood honoured with an enthusiasm that was wont to carry them,
on occasion, into the rarefied atmosphere of fiction.
The descendants of Kanaoxa may be traced to the end of the
fifteenth century, and were reputed chiefly as painters of Buddhist
pictures (see Buddhist School). We sometimes hear of a “KanaoKa
style,” based upon the works of the master and maintained by the
later generations of the family, but Japanese connoisseurs do not
assign any distinctive features to the secular pictures of the Kosé
line, very few of which are now in existence. Hence, although
Kanaoka was one of the first and greatest masters of Japanese
 EARLY HISTORY. 9
2

painting, and by his labours and example exercised an all-powerful

influence upon the art for centuries after his death, we are not able,
either from our present knowledge, or from the writings of former
times, to speak of a school bearing his name. It is most probable
that, as a student of the works of the great Chinese painters of the
T’ang dynasty, he adopted their teachings without important modi- )
fication, and must be regarded as the apostle of an ancient and
foreign art, rather than as the originator of a native school.
The most prominent names in the two or three generations after
the death of Kanaoxa were those of 8S5-KEN (referred to in the Genji
Monogatari as the illustrator of the Takétori Monogatart), At-m1
and Kiy-rapa, the sons of the master; and Kry-mocut, the son of
Kry-rapa. ‘Two court nobles, named TADA-HIRA (Fujiwara no Sada-
hito) and Tsuni-nort, were also in great repute as painters in the
first half of the tenth century, and to both of these are attached
artistic fables of the usual threadbare type.*
The rank of painting, amongst the elegant accomplishments in
vogue during the tenth century, may be implied from the chapter
entitled H Awasé, in the Genji Monogatari, which gives the details
of a competition of pictures, conducted with great formality before
the Emperor (who is described as an amateur of paintings, and
himself an artist of great ability). The relation undoubtedly
describes an actual event that occurred within the experience of
the author, and goes far towards proving the high esteem in which

* According to the Gempei Seisut ki, a cuckoo painted upon a fan by TapantRra
uttered a note like that of the living bird whenever the fan was opened, and
TSUNENORI is said to have drawn a lion so like life that dogs brought within
sight of the portrait would attack it with all the fury that the original might have
been expected to arouse.
There is no lack of wonderful artistic creations of this kind. In painting, the
stories of Kanaoxa’s horse (p. 7), the rats of SESSHID (p. 263), and the flaming
Atchalé of Caé Densu (p. 21), are almost historical. Sculpture contributes a share
in the narration of the memorable quarrel between the wood carvings of the Lion
and Koma-inu (a kind of canine unicorn) at the temple of Zawo in Yoshino, ending
in the fall of the combatants trom the lintel to the ground; and again in the record
of the libertine image representing a Buddhist demon, whose nightly divagations
were ended by chaining the truant to his pedestal, but not until they had derived a
scandalous significance from the mysterious addition of several fatherless infants with
lurid complexions and budding horns to many respectable households of the neigh-
bourhood. Even calligraphy furnishes an item in the legend of the magic ideograph
“Rid” or Dragon that was inscribed upon the waves by a divine visitor to Kobo
Daishi, and with the completing stroke burst suddenly into form and life as the
actual Spirit of the Storm.
10 _ JAPANESE PICTORIAL ART.

the art was then held. The following abstracts have been quoted
from the translation of Mr. Suyematz as especially indicative of the
art inspirations in favour at that early period.
The paintings exhibited were rolls, some “ of ancient date,” others
more modern, and some by living artists. The subjects illustrated
were old Japanese and Chinese romances, the months of the year,
native scenery, and court festivals. Some of the rolls depicting
court ceremonies bore explanatory annotations by the Emperor
Daigo, and one, executed by Imperial command, was the work of
Kost no Kiy-mocut. Another roll, painted by Tsuni-norr, and
written by Michi-kazé (Ono no Toft), was devoted to the adven-
tures of Toshikagé, a native hero: the ground of the picture was of
thick white tinted paper, the outer cover was green, and the rolling
stick of jade. Victory was adjudged to the pictures of Genji,
which represented scenes drawn from nature during his retirement
by the shores of Suwa; and the umpire, in his complimentary
speech, remarked: “Your painting has been hitherto thought to
be mere amusement, but we have now seen that your sketches are
executed with a skill not unequal to that of the famous draughts-
men in black ink.”
The following passage from an earlier chapter of the work points
in the same direction :一
“Look for another instance at the eminence which has been
attained by several of the artists of the Imperial College of Painting.
Take the case of draughtsmen in black ink. Pictures indeed, such
as those of Mount Horai (P’éng-lai), which has never been beheld
by mortal eye, or of some raging monstrous fish in a rough sea, or
of a wild animal of some far-off country, or of the imaginary face of
a demon, are often drawn with such striking vividness that people
are startled at the sight of them. These pictures, however, are
neither real nor true. On the other hand, ordinary scenery of
familiar mountains or calm streams of water, and of dwellings just
before our eyes, may be sketched with an irregularity so charming,
and with such excellent skill as almost to rival nature. In pic-
tures such as these the prospect of gentle mountain slopes, and
sequestered nooks surrounded by leafy trees, are drawn with such
admirable fidelity to nature that they carry the spectator in imagi-
nation to something beyond them. These are the pictures in which
is mostly evinced the spirit and effectiveness of the superior hand of
 EARLY HISTORY. 11

a master, and in these an inferior artist would only show dulness

and inefficiency.”
The writer, after a reference to calligraphy, illustrates her remarks
by the reflection—“ Such, then, is the nature of the case in painting,
in penmanship, and in the arts generally. And how much more,
then, are those women deserving your admiration who, though they
are rich in outward and in fashionable display, attempting to dazzle
our eyes, are yet lacking in the solid foundations of reality, fidelity,
and truth.”
This intellectual expression of a really high ideal makes it difficult
to believe that a period graced by the compositions of the author
should have led up to nothing more than the most conventional
school of painting in Japan, the Tosa school, that was at first proudly
claimed as the Yamato or Wa-gwa rit; the native manner, par
excellence. (See p. 95.)
The generations of the Kosé line are subjoined. The greater
number of these masters were famous for Buddhist pictures, but it
is probable that their secular paintings contained the chief elements
of the Yamato style.

10th century :一
S0-KEN, son of Kana-oxa, said to have illustrated the Takétori
Monogatari.
AI-MI son of Kana-oKA.
Kiy-tapa, grandson of Kana-oxa.
Kiy-vst, son of Kin-rapa.
Krn-mocut, son of Krn-rapa (?), and teacher of Fuji-wara no
Moto-mitsu. According to the Honchd Gwashi, he was the
younger brother, instead of the son of Kin-tada. The inter-
relationships of all the early members of the family are
somewhat doubtful.
Fuxa-y#, son of Kry-mocut.
Hrro-raKa, son of Fuxa-yi. (See p. 18.)

11th century :一
Kor#-sHIch.
NoBU-SHIGE.
MUNZ-YoSHI.
12 JAPANESE PICTORIAL ART.

12th century :一
MASU-MUNE.
ARI-MUNE.
MUNE-HISA.
Son-CHI.
Mons-rouxka, brother of ARI-MUNE.
GeN-KEI, brother of Ar1-muné. This artist worked during the
latter part of the twelfth and beginning of the thirteenth
century, and was associated with Takuma RIOGA (see Yamato
School) in the production of a famous Buddhist picture for
the temple of Tayéma, but died before its completion, in
1208.

13th century :一
GeEn-son, son of GEN-KEI.
ARI-YUKI.
ARI-TADA.
NAGA-ARI.
Mrrsv-yasu, brother of NAGA-ARI.

14th century :一
ARTI-IYE,， son of Mrrsu-yasv.
Ani-yasv, brother of Ari-rvi (?).
ARI-HISA, son of ARI-YUKI.
Kori-HIsA.
Yosut-nisa, son of Korii-n1sa.
YuRI-TADA, son of ARI-HISA.
Buneo Hoxxt6.

15th century :一
Ari-sHick, son of Ari-yasu. A contemporary of Cad Dxnsu
(see Buddhist School).
CHIKUGoO Hor.
Ecuico Hocen.
 (eid35)

BUDDHIST SCHOOL.
一 一 一人 一 一

Amonast the oldest examples of Sinico-Japanese art now extant

are the mural decoration at Horitji referred to in p. 2, and
the Buddhistic pictures of the Chinese master, Wu Tao-tsz’, painted
in the eighth century of our era. There is, however, strong reason
to believe that the school represented by the great artist of the
T’ang dynasty claims an antiquity of many centuries before this
period ; tracing its origin to India, where it perhaps derived much
of its early strength from the teachings of the noble art of Greece.
Art appears to have been first employed as an important agent in
the advancement and spread of Buddhism by King As’dka, who
reigned in India from 272 to 236 B.c. (or from 260 to 224), three or
four generations after the invasion of the Punjab by Alexander the
Great (3837 B.c.). To this monarch India is said to owe the intro-
duction of the use of stone for architectural purposes, and it was
from his time that the most remarkable Buddhistic sculptures may
be considered to date.
It has been long since pointed out by Leitner, Fergusson, and
others that certain of the Buddhist stone carvings found in the
neighbourhood of Peshawur bear an unmistakable resemblance to
the sculpture of Greece, a resemblance which may be accounted for
by the importation of European ideas and productions in con-
nection with the Indian expedition of Alexander, and perhaps more
remotely by the influence of the Sassanian art introduced by the
Persians under Darius two centuries earlier. These views are
supported by certain features of the earlier Buddhist sculptures in
wood and bronze made in China, Korea, and even in Japan, as illus-
trated by the magnificent collection of M. Cernuschi in Paris, and
by many specimens dispersed amongst the old temples of the Middle
Kingdom and the Far East. It may be noted, moreover, that the
Greek impress becomes fainter and fainter as the influence which
stamped it becomes more and more remote: there are nevertheless
 14 JAPANESE PICTORIAL ART.

preserved, even in such comparatively recent works as the well-

known Kamakura ‘Daibutsu’ in Japan, which is not much above
six hundred years in age, many points of design, especially in
physiognomy and draping, that offer far more resemblance to the
characters of the Graco-Buddhistic sculptures of India, than to
those of true Japanese art.
The impermanency of the materials of the painter’s art has
unfortunately deprived us of the precious and suggestive relics
which have taught so much concerning the archeology of Oriental
sculpture and architecture, but there is no doubt that religious
pictures were made in India before the adoption of the faith of
Gautama in China. This being the case, the process of naturaliza-
tion of Buddhist pictorial art upon Chinese soil may be readily con-
jectured. It is on record that the momentous Indian Buddhistic
Embassy of the Emperor Ming Ti, in the first century of the
Christian era (65 a.p.), resulted in the importation not only of stitra,
but of drawings and images; and these were, in all probability, con-
stantly augmented by the Indian missionaries drawn into China in
the cause of the great religion during the subsequent five or six
hundred years, as well as by the collection of Fa Hien, whose travels
in India (899-414 a.p.) led the way in local research for the
expedition of Hiouen Thsang two centuries later (A.D. 629 to 645).
The works so acquired were the types upon which the Chinese artists
founded the pictorial and other images demanded for the supply of
the innumerable temples that rapidly multiplied over the face of
their country.
There are many indications of the Indian origin of Chinese Bud-
dhist art, amongst the chief of which are the almost invariable
absence of Mongolian traits in the physiognomical characters given
by the Chinese to the various divinities of the Buddhist pantheon,
and the practical identity in point of dress, attitude, and attributes,
between Indian representations of certain of the divine personages,
and the corresponding images produced in China and Japan.* Again,
in the colouring of Chinese Buddhistic paintings, the selection and
arrangement of pigment, while very unlike the practice of the

* The figure of Gautama in the Amravati sculptures, some of which are in the
British Museum, may be compared with the Shdgaku no Shaka in vol. i. of the
Butsu-z0 dzu-i. Many other points of resemblance might be indicated were it
necessary.
 BUDDHIST SCHOOL. 15

older secular school of China, often produce chromatic effects that

strongly recall those of Indian work. On the other hand, there is
no doubt that many of the Western types underwent considerable
modification in the course of their adoption into the Middle Kingdom,
not only by the infusion of elements of artistic style, but more par-
ticularly by the incorporation of a symbolism appertaining to pre-
existing beliefs in the latter country. It may be observed, amongst
other points, that the cobra, which plays a prominent part in Indian
Buddhistic art, is always replaced by the dragon in Chinese works;
and again, the sensual cast impressed upon the pictorial and
sculptural Buddhist relics of certain parts of India, by the frequent
introduction of houris with exuberant charms, entirely disappears in
the religious art of China, which suppresses distinctions of sex in a
somewhat remarkable degree. It is also certain that a few of the
most familiar figures in Chinese Buddhism are of native origin, as
for example the goddess Kwanyin, claimed by the Chinese as a
pre-Buddhistic divinity, but accepted by the tolerant propagators
of the new faith as a transformation of Avalékités’vara, an Indian
Bodhisattva (a male).
The religion and its art once firmly rooted in China, the seeds
soon reached the Korean peninsula, and thence, in the sixth century,
were conveyed to Japan. Here much of the story of the progress
of the early Buddhist Church in China is repeated. The Mikado
Kimmei (540-571 a.p.) was the Ming Ti of Japan, and gave to
the new creed all the advantages of royal sanction and support.
Kas’yapa Matanga and the other Indians who had conveyed the
tenets to China were represented by Korean priests; and Fa Hien
and Hiouen Thsang found their counterparts in Kédbd Daishi and
Chish6 Daishi, who sought in China the material for which their
pilgrim predecessors had penetrated to the lands consecrated by the
personal teachings of the disciples of S’akyamuni. With the advent
of the elements of belief came the now inseparable images and
pictures, mostly of Korean workmanship but including a few
genuine remains of Indian art (some of which are still preserved),
and upon this basis was established the early Buddhistic school of
Japan.
At this period Japan had little of its own that deserved the
appellation of a native art. The Chinese Nan-nrd* had made known
* See page 1.
16 JAPANESE PICTORIAL ART.

the principles of the pictorial art of his country in the ‘previous

century, and his descendants still held honourable positions at the
Imperial Court, but no native painter had yet inscribed his name
upon the tablets of the future, and hence the necessary augmentation
of works of religious art for the primitive Buddhist Church of Japan
was wholly dependent upon foreign skill, aided by such amateur
ability as might be developed amongst the early native converts.
The first period of the art, extending over a term of about four
hundred years, was one of education, the results of which were not
to become fully manifest until the establishment of a new era.
We have indeed few genuine relics of this time, but the scanty
list of Buddhist painters, extracted from the Nchon-gi and other
ancient writings, is made up almost entirely of Koreans and native
magnates of the Church, and as the latter were but amateurs, whose
artistic reputation is, at least in some degree, a pious fabrication,
the school was practically in the hands of strangers.
The principal names in this period are as follows :一

Surraru. A Korean artist referred to in the Néhon-gi as having

lived in Japan in the reign of the Emperor Yémei (586-587
A.D.).
Komasui-Maro. A Korean artist in the service of the Empress
Saimei (655-661 A.D.).
Suod-roxu 了TAISHI。 The eldest son of the prince who afterwards
became the Emperor Yomei. He has a great but somewhat
apocryphal reputation as a painter and sculptor. Born 573 ;
died 621 a.p. (See note to No. 254.)
Don-cud. A Korean priest, who came to Japan in the eigh-
teenth year of the reign of the Empress Suiko (610 A.D.).
Noted as a painter and Chinese scholar.
OTO-KASHI。 Referred to in the Nehon-gi as a painter in the service
of the Emperor Temmu (673-686 a.p.). He received the
title of Yamato Yéshi.
Tacui-BE Ko-mano.
Funa-ro no NAO-SHI， It is stated in the Nihon-gi that in 654
a.p. the Emperor Kétoku ordered these two artists to paint
representations of Buddhas and Bodhisattvas for the use of
the Temple*Kawara-déra.
Ko-8o DAISHI or 及 0-KAI (774-834 a.v.), was one of the greatest
 BUDDHIST SCHOOL. 17

promulgators of Buddhism in the history of Japan, and is

also noted as a calligraphist, painter, sculptor, and even as
an engraver upon wood.* He visited China 804 a.p., and
on his return brought many relics, images, and pictures into
his native country. The title 玉 5-B0 DAISHI (Great Teacher
who spreads abroad the Law) is posthumous.
JI-KAKU DAISHI (784-854 a.p.). The founder of the Temple of
Fudo, at Méguro, near Tokio. His artistic reputation is
principally that of a carver of wooden images, but he left
many Buddhist paintings. He was a contemporary of K6-26
Datsut, and one of the first amongst the priesthood to make
the journey to China.
CHI-SHO Datsun, or En-cuin (815-892 a.p.). A nephew of K6-26
DAISHI。 He resided in China for many years, and returned
to Japan in 858.
Ko-xo. <A contemporary and associate of OHI-SHO DAISHI，wWho
is chiefly remembered for a picture of Fudd (Atchala) painted
to commemorate a vision, in which the god had appeared
to CHI-sHO.T
Suin-sar. <A noted priest of the 9th century, who, like 开 0-B5
and CHI-SHO DAISHI passed some years in China. It is related
that when he had nearly completed a portrait of Kd-3d DAISHTI，
painted at the request of Prince Shinnio, the spirit of the
defunct original appeared and placed the “dots” in the eyes,
thus terminating and sanctifying the labour of the artist.
Kaxv-sHo. A painter, probably a monk, of the 9th century,
chiefly remembered for his portrait of Gwanzan Daishi, a
famous abbot of the Tendai sect.
Of these painters we have no authentic remains. It is true that
numerous pictures, sculptures, &c., still extant, including some of a
very high degree of merit, are attributed to the native founders of
the Buddhist Church ; but a short examination of the various works
assigned to any one of the reputed artists will reveal such irrecon-
cilable differences of style and ability, that their origination by a

'* The collection includes an impression from a wood block attributed to Kozo
DAISHI (see No. 3582). SHOTOKU TatsHi, KwansndJd, Grider, and a dozen other
early celebrities of the Church have also been credited with similar works.
t Such portraiture of living and human personages, nominally founded upon
dreams and visions, plays a great part in Japanese art fiction.
CO
18 JAPANESE PICTORIAL ART.

single hand is in the last degree unlikely. It is, in fact, more than
possible that not only are the whole of these works fraudulent as
regards their asserted date and origin, but that nothing of the
kind worthy of preservation was ever created by their nominal
authors.*
The traditions, however, as to foreign artists, who held no posi-
tion of influence in Church or State, are not open to such doubts as
those naturally suggested with respect to the marvellous accomplish-
ments of SHoroxu TAISHI and Koso DAISHI and there yet remain
works in certain branches of religious art by Koreans in the service
of the Japanese that show an extraordinary naturalistic power,
altogether in advance of any known original productions of either
Chinese or Japanese artists in later times. The Nara sculptures of
the Temple Guardians, already described (p. 4), may be referred to
as examples of the capacity of a people who now appear to be so far
distanced by their quondam pupils.

The second period of Buddhist art may be considered to begin

with the advent of Kosi no Kanaoxa, towards the close of the ninth
century. Kanaoxa, although unconnected with the Church, and
enjoying an extraordinary reputation in what may be termed the
secular branches of painting, must be regarded as the founder of the
native Butsu-yé. At the present day, the only existing paintings that
can be accepted as the work of his brush are Buddhistic; his
descendants, too, who can be traced in a fairly unbroken line for
more than five centuries, appear to have directed their principal
efforts to the production of sacred pictures, although none except
HrroraKa share in the popular recognition of the ancestor. Hr1ro-
TAKA, the fourth in descent from Kanaoxa, enjoyed great reputation
at the court of the Mikado as an artist and a religious devotee.
His paintings were principally Buddhistic, and to one of these,
his last work, which may still be seen at the temple of Chérakuji
in Kioto, is attached a history that is worthy of reproduction as
a parallel to the closing episode in the life of our own Hogarth.
It is told that the painter, while yet in the prime of life, undertook
the execution of a picture of the tortures of the damned in Hades.

* A painting is still shown at Tenn0-ji in Ozaka, as a portrait by SHoroxu

TAISHI of himself. Its authenticity is very doubtful, but admitting it to be
genuine, its design and execution are not beyond the power of an amateur.
 BUDDHIST SCHOOL. 19

As the design progressed, he became inspired by a mysterious fore-

boding of his approaching death. The melancholy thought, however,
only urged him on in his labour, and he worked unceasingly, with
the same strange perseverance that sustained Mozart in the composi-
tion of his Requiem, until at length a few touches alone were needed
for the completion of the ghastly subject, but with the final strokes
his overstrained energies collapsed, and the artist, brush in hand,
fell dead in front of his ill-omened masterpiece.
The second period in the history of the school, extending to the
end of the fourteenth century, bore strong marks of the influence
of Kanaoxa. The following list, compiled chiefly from the Honcho
Gwashi, will indicate some of the painters of Buddhist pictures in
the interval between the time of Kanaoxa and that of (OO Denso,
the originator of the third and last era of Buddhist art; but the
noblest examples of religious art in this age were the handiwork of
members of the Kasuga, Kosé, and Takuma lines, who constituted
also the foundation and strength of the Yamato Academy (q. v.).
9th century :一
Kwan-sH6-30 or SUcGA-WARA No Micut-zanh, popularly known by
his posthumous title of Tunsm Sama, was a court noble of the
ninth century, a contemporary and intimate friend of Kanaoxa.
He is chiefly celebrated for his calligraphic skill, but he is
said to have also painted many Buddhistic pictures. Falling
a sacrifice to court intrigue, he died in exile a.p. 903, but
afterwards became an object of popular worship as the god
of calligraphy.
The Emperor Upa. Reigned from 888 to 897 a.p.
10th century :一
The Emperor Ret-zz1. Reigned 968 to 969 a.p.
The Emperor Kwa-zan. Reigned 985 to 986 A.D，
了EN-SHIN Asart.* Flourished at the end of the tenth century.
E-suin S5pzu Gun-sumy. (942-1017 A.D.) See No. 6.
12th century :一
Jo-rat. A monk of the Jédo sect. He was the first painter
of the oft-repeated subject, the Dream of Honen (see No. 26).
His representation of Shan Tao, drawn in accordance with
* Ajari is a priestly title, corresponding to the Sanskrit Acharya, teacher of
morals.
o 2
20 JAPANESE PICTORIAL ART.

the description of Honen, was afterwards found to agree

exactly in all its features with a genuine portrait from life
preserved in China.
Kaxu-sHun SHONIN.# <A pupil of Taxuma Tami-16. Noted
for pictures of Atchali, and as a writer of Sanskrit
characters.
JO-MIO HOIN An artist commissioned to paint a Buddhist
picture to serve as companion to one executed by the great
Regent Kiyomori.
I-yo no Nitpo. A contemporary of the last.
Dat-co §650.* Commonly known as Ama 8030, or the rain-
priest, because it is said that, in a season of terrible drought,
his prayers brought rain upon the parched fields, and averted
a famine. |
H6-nEn SHONIN or EN-KO DAI-SHIL Founder of the monastery
of Chion-in in
i Kioto (1133-1212).

13th century : -一
OHIN-KAI Sopzu.* <A noted painter of Buddhist divinities.
Lived in the early part of the 13th century.
Jo-zEN. The painter of a well-known portrait of Shinran
Shonin, the founder of the Shin sect (1173-1262).
Jo-ca. An artist-priest noted for a series of illustrations of the
life of Shinran,
Nicut-ren Suonry. The celebrated founder of the Hokké sect.
He was born in 1222, and at the age of sixty-two closed
an eventful and miraculous life, at Ikégami near Tokio.
The artistic productions attributed to him belong to the
same doubtful category as those bearing the names of SHO-
TOKU and 及 0-B0 DAISHI; but a roughly carved wood block
in the Temple of Taishaku at Shibamata near Tokio displays
marks of authenticity.
eee known also as 了 ORIU-IN YESHI was a contem-
porary of Nicui-ren. He was the painter of the portrait of
* 8S5j0， Sadzu, and Shonin are Clerical titles.
- 十 Hoin, Hégen, and Hokkié were originally clerical titles, but under the Toku-
gawa dynasty were conferred as an honorific rank, chiefly upon artists of the
Kano school and the higher grade of physicians, who were nominally affiliated to
the priesthood.
于 Yéshi signifies painter.
 BUDDHIST SCHOOL. 21

-Honen Shénin (1133-1212), kept at Kurodani temple in

‘Kioto. | m
O-xura-x1yo, a subordinate of NIOHI-REN。

14th century :一
Gé-su. A descendant of NopU-zANE (see Yamato School), and
chief priest of the Temple of Hiyeizan in Kioto, in the early
part of the fourteenth century. He painted the portrait of
the retired Emperor Hanazono no In (1297-1348).
Yosui-nipE. A famous painter of Buddhist pictures. He is
said to have been so devoted to his art, that when his house
caught fire, instead of making an attempt to check the
flames he stood motionless analysing their form and colour,
with a view to their more truthful reproductionin his future
pictures of the fiery god Atchala. It is not known whether
his self-sacrificing enthusiasm met with its reward.
R10-zen Hom. Livyed in the middle of the fourteenth century.
He is the painter of thirty-two pictures of Arhats kept at
the temple of Honkokuji.

The third and last era of Buddhist art was inaugurated by

CHO Densv in the latter part of the fourteenth century. Mzt-cnd,
better known as CHO Densu,* a priest of the temple of Tofukuji，
in Kioto, was a contemporary of the Italian painter-monk Fra
Angelico, and offers a curious parallel to his European brother in
talent and character, as well as in calling and period. His skill is
the subject of fabulous legends, and many anecdotes record the
unsought fame won by the simple mind, devout belief, and indiffer-
ence to temporal rewards, that maintained him throughout the long
years of his life in the seclusion of the monastic retreat which
derives its chief renown from the fruits of his labours.t He died in
1427, at the age of seventy-six.

* The affix Densu is a priestly title.

+ Incommemoration of his youthful talent, the Honchd Gwashi relates that on one
occasion during his novitiate at Tofukuji, when he had just completed in stolen
moments a portrait of Atchald, he heard the footstep of his stern superior Daido,
who had hitherto repressed his pictorial tendencies, and fearing reprimand he tried
to conceal the picture between his knees, but the fiery halo around the god rose
up in lambent flames and betrayed the presence of the holy work. The astonished
Daido, now convinced of the divine inspiration of the boy, placed no further obstacles
22 JAPANESE PICTORIAL ART.

His works can scarcely be appreciated at their full value unless

studied amidst their natural surroundings in the subdued light of
the spacious halls and corridors of the Buddhist temples. Like
the painters of the Kasuga, Takuma, and Kosé lines, he was gifted
with a perfect mastery of colour; but he was also endowed with an
originality of conception that elevates him above rivalry in his
school, and places him in the highest rank amongst the great artists
to which his richly gifted country has given birth. It is true that
he never aimed at realistic accuracy of drawing, but his force of
design and harmony of colouring will go far to compensate for
deficiencies of which the Oriental mind appears to be but little
conscious. The examples in the collection will serve to show his
manner, and even the engravings of some of his works in the
Wa-Kan mei-gwa yen may indicate his power of delineating the
many shades of apostolic character, from the intense energy of the
promulgator, to the immobility and abstract contemplation of the
philosopher who seeks Nirvéna in oblivion of earthly interests and
passions; but his genius can only be measured aright by a study
of the great series of kakémonos representing the five hundred
disciples of S’akyamuni, at the temple of Tofukuji in Kioto.
Here the artist’s strength has had full play, and he hag achieved
a veritable triumph in the striking individuality which he has
impressed upon each of the multitude of figures, while preserving
the common link of intellectual dignity that binds them together ag
the Arhat or “the men who merit worship.”
Cud Densu had many followers, but the school soon fell into
the ancient groove, and although it numbered in later times a
goodly list of clever draughtsmen and accomplished colourists, not
one appears to have won a right to range himself by the side of
the Master. His style indeed was closely imitated by Kan Dungu

in the path of his artistic career. The same authority tells us that after many
years of honoured labour, when his patron the Shogun Yoshimochi expressed a desire
to confer upon him somesignal mark of favour, he replied, “For money, treasures
and rank I have no need; one change of raiment and a bowl of rice suffice for my
daily wants, but I humbly ask that the cherry-trees which have been planted in
the temple grounds may be cut down by my lord’s order, lest in future times the
sacred garden may become degraded to a park of pleasure.” he Shogun at once
acceded to the request, the unselfishness of which, at least, was beyond impeach-
ment, and to this day the wish of Cho Densu has been respected by the monks at
Tofukuji.
 BUDDHIST SCHOOL. 23

and others of his pupils, but his spirit and originality died with
him.
- In the present century, Kazu-nosv, a pupil of the Kano school,
has placed himself in the front rank of the Buddhistic painters
by his portraits of the sixteen Arhat, which are still exhibited in
one of the temples of Shiba in Tokio. A further notice of this
artist is inserted in the account of the Kano line.
. The following is a list of the painters of the fifteenth century
whose names have been preserved in biographical works as followers
of CHO Densv. Not one tithe however of the actual number
of artist-monks have left any record of their names, for the Bud-
dhist picture is usually regarded as so far sanctified by its motive
that the painter in his humility seldom presumes to append to
it any mark personal to himself. This rule was departed from by
CHO Densv, perhaps by special command, and by a few priests of
‘high rank in the church; but other exceptions are not often to
be met with in the true Butsu-yé :一
Kan Densu of Tofukuji. The best known of the pupils of
CHO Densv and a close imitator of his style.
及 AzU-YUKI or Isspr. <A pupil of Cad Densv.
Cuod-son. A priest of the temple of Kanshinji, in Kawachi
province. A contemporary and imitator of Cad Drnsv.
Yosut-mocut. The fourth shogun of the Ashikaga line. A
patron and pupil of CHO Dunsv. (b. 1886, d. 1428.)
Gu-xioxu or Ker-sar. A monk of Tofukuji. Painted in Cao
Densv’s style, and also followed the manner of the Chinese
school. (d. 1452.)
Sar-6 or Kersv, a monk of Tofukuji, and a follower of
OHO Densv.
TAKU-DO or Sd-sun. A priest noted for pictures representing
Atchala.
Cui-Kar. <A priest who is said to have painted a hundred
thousand pictures of Atchalé. Some of his works are kept at
Jid6 In, in the province of Omi. He lived at the end of
the fifteenth century.

The end of the school is probably close at hand. The Bud-

dhistic establishments—many disorganised, others needy or beggared
—are unlikely to revive the contest of wealth and power that
 24 JAPANESE PICTORIAL ART.

made them so conspicuous in the medieval period of Japanese

history. The artist-monk, unstimulated by the old emulation, and
no longer supported by the wealthy patronage necessary for the
production of the more ambitious works of his school, is losing
his skill, and there are no pupils to fill his place in the coming
time. Unfortunately, too, many of the works that would one day
have become priceless treasures are dispersed or destroyed. A
sufficient number, however, still remain to illustrate the school;
and not only the Japanese nation, but all lovers of art, will owe
a debt of gratitude to the present government for the wise steps
they have taken to secure for a future national museum the
treasures which otherwise might have been for ever lost to the world.

Characteristics.—The Butsu-yé, or picture of the true Buddhist

school, has certain distinctive peculiarities that separate it from
the works of all the secular academies.
While the chief ideal of the older Chinese painters, and of their
Japanese imitators, was calligraphic dexterity, the Buddhist artist
aimed principally at decorative and sensational effect. The Sketch
was replaced by the Illumination. The first with its sober
monochrome or subdued local tints, and its bold sweeping stroke
of pencil, had its chief meaning for the educated few, who alone
could appreciate the evidences that it presented of perfect
accuracy of eye and command of hand ; the other was intended to
appeal to all—to attract the untrained senses of the people,
without offending the higher tastes of the aristocracy of learning—
and this result was sought by a gorgeous but studied play of gold
and colour, and a lavish richness of mounting and accessories,
that appear strangely at variance with the begging bowl and
patched garments of primitive Buddhism.
Gold was the one thing essential to the Buddiigt altar-piece,
and sometimes when applied upon a black ground was the only
material used. In all cases it was employed with an unsparing
hand. It appeared in uniform masses, as in the body of the
Buddha or in the golden lakes of the Western paradise ; in minute
diapers upon brocades and clothing; in circlets or undulating rays,
to form the glory surrounding the head of Amitébha; in raised
bosses and rings upon the armlets or necklets of the Bodhisattvas
and Dévas, and in a hundred other manners. The pigments chosen
 BUDDHIST SCHOOL. 25

to harmonize with this display were necessarily body colours of

the most pronounced hues, and were untoned by any trace of chiar-
oscuro, Such materials as these would sorely try the average artist,
but the Oriental painter knew how to dispose them without risk
of crudity or gaudiness, and the precious metal, however lavishly
applied, was distributed over the picture with a judgment that
would make it difficult to alter or remove any part without detri-
ment to the beauty of the work.
The drawing held a place to some extent secondary to that of
the colouring. It varied considerably in style, was sometimes stiff
and formal, at others free and graceful, and in the pictures of
CHO Densu and the older Yamato artists often assumed the
vigorously graphic type characteristic of the great T’ang masters.
The admirable anatomical studies left in the Korean Nia at
Kobukuji (see p. 4), and.in the scarcely inferior figures at
Todaiji, however, conveyed no lesson to the painters of Buddhist
pictures, and hence in the neglect of anatomical forms as in the
absence of chiaroscuro and true perspective, the defects of the other
schools of Sinico-Japanese art were preserved unchanged.
Of invention little can be said. The artist was as heavily
fettered by traditions that were considered almost holy in their
antiquity and origin, as the Egyptian sculptor by his arbitrary
rules of proportion, and many remarkable painters exhausted their
faculties in mere repetition of types handed down to them cen-
turies before by Koreans and Chinese, feeling most proud when
their labour was thought a worthy copy of a foreign original.
Cud Densv was an exception, but even he did not venture to
strain the bonds too far. The tendency may be well exemplified
by a comparison of the three renderings of the Nirvana of
S’akyamuni in the collection (Nos. 7 and 8, and Chinese, No. 1). .It
will be seen that the work of the Chinese artist of the Sung dynasty,
of the Japanese monk of the fifteenth century, and the Fujiwara
scion of our own time, differ only in minor details. Nothing
important has been added or suppressed. The same fidelity of
reproduction appears in the hundreds of Mirvdnas still kept in the
temples of Japan; and their forerunner, though probably not the
prototype, exists in the great work of Wu Tao-rsz’,* which may be

* See engraving in ‘The Pictorial Arts of Japan.’

26 JAPANESE PICTORIAL ART.

seen at Manjuji in Kioto, In most of the other motives of the school

even less scope is afforded for the inventive powers of the designers,
for the Trinities and group of Dévas and Bodhisattvas are little
more than a reduction of the carved idols to a pictorial form. It
was only when the painter freed himself from priestly fetters, and
worked in the comparatively unconstrained manner of the lay schools,
that he could attempt to vary the monotony of Buddhist art.
The mounting of the Buddhist picture is constructed in accord-
ance with special laws. Its materials are usually the most
decorative that can be procured, and are disposed after an especially
complex pattern; and the ordinary wooden or ivory appendages
(jiku) at the ends of the rolling-sticks are replaced in the typical
Buddhist kakémono by caps of gilded bronze or more precious metal,
engrayed with the symbol of the lotus. The mounting of Buddhist
makimonos, or rolls, is of a similar character.
Certain non-Buddhistic pictures are sometimes erroneously in-
cluded with Butsu-yé, such as those illustrating purely Shinté
subjects (which, however, are few, and nearly all of very recent date) ;
and the rendering of Buddhistic subjects by artists of the various
other schools in the style of their own Academies ;* but occasionally
the secular approaches so closely to the sacred, that it is not easy
to decide upon the section to which the work must be relegated.

Motives.—It is unnecessary to offer any account of the ordinary

Buddhistic motives illustrated by Chinese and Japanese artists; but
for the comprehension of a considerable section of Japanese pictorial
works it is essential to append some details with respect to certain
categories of supernatural beings more or less closely associated
with the religion, which can only be studied in their relation to art
from sources not comprised in sacred literature. These are the
Shichi-fuku-jin, the Sixteen Arhats, the Dragon and Tiger, the
Rishis and the Demons. It has also been considered advisable to
append a few remarks with reference to S’akyamuni, Amitabha, and
Kwanyin.
* The pictures of this class, to which the followers of Sxssu10, Suidpun, and
Moronosu have made large contributions, outnumber the true Butsu-yé.
 BUDDHIST SCHOOL. 27

SHICHI-FUKU-JIN.

The little group of divinities known as the Shichi-fuku-jin, or

Seven Gods of Good Fortune, form a sort of popular appendage to
Japanese Buddhism, and are of especial interest to the student of
Japanese art.
No collector of Japanese curiosities can have failed to notice the
incessant repetition of a certain number of quaint figures stamped
with definite and easily recognisable characteristics. One of these
represents a comical little old man, with a good-humoured face and
a preternaturally tall head; another shows a broad, short-legged,
well-to-do looking fellow, who stands upon a pair of rice bales
holding a large mallet in one hand, and with the other carrying a
bag slung over his shoulder; a third jovial countenancé belongs to a
sort of fisherman, who has just hooked a large red tad, the turbot
of the Japanese banquet ; the fourth figure is that of a sturdy friar,
whose full cheeks, double chin, and luxuriant abdominal development
speak well for the effects of priestly fare when digested by the
stomach of contentment; he is provided with a huge canvas bag,
which usually serves as a prop for his unwieldy frame. The remain-
ing three of the group are of a more imposing type: one is a warrior
of formidable aspect, armed cap-d-pie, and grasping a long spear in
one hand and a miniature pagoda in the other; near to this Oriental
Mars is the Venus of the company, a comely woman, holding a
stringed instrument of music; and lastly, completing the seven, is
a venerable man of dignified bearing, clad in the long robes of a
Chinese scholar of bygone times, and bearing a fan, or supporting
his footsteps by a crooked staff.
By most of the foreign writers upon Japan these seven divinities,
like the Nine Muses, are assumed to be charged with special func-
tions in relation to the lower world. Thus, Fuku-roku-jiu, the tall-
headed sage, is called the god of longevity, or wisdom; Daikoku,
he of the mallet and rice bales, presides over worldly prosperity;
Rbisu, the fisherman, is considered to provide for the daily subsist-
ence of the working man; Hotei, the Friar Tuck, is the type of
contentment; Bishamon, the warrior, is of course to be the god of
martial prowess; Benten, the one lady of the party, governs matri-
28 JAPANESE PICTORIAL ART.

monial affection ; while the grave Ju-ré-jin lends aid to the aspirants
after scholastic renown. All this embodies the suggestions which
the pictorial representations of the Shichi-fuku-jin naturally awake
in the mind of the European, and appears so obviously correct, that .
it might be thought unnecessary to inquire whether the Japanese
views upon the subject coincide with ours. Yet, strangely enough,
such a satisfactory and conyenient arrangement, that partitions out
the task of supervision of the various worldly needs of man amongst
a series of presiding powers, does not seem to have entered the
thoughts of those who grouped the divine beings together. In
point of fact the average Japanese would be rather perplexed by
an inquiry as to the precise use he would make of any one of
his “ household gods,” for his mental impressions upon the subject
are almost wholly derived from vague traditions and pictorial repre-
sentations; and even should an attempt be made to secure a
more scientific footing, the learned but rather arid discourses in
native literature assign such multifarious powers to some of the
number, and so carefully avoid attributing anything at all to
others, that the foreign investigator finds himself rewarded for
his pains by little more than the collapse of his former plausible
inferences.
The Shichi-fuku-jin are nominally a Buddhist assemblage, and
as such are included in the Butsu zd Dzu-i, although they are seldom,
if ever, seen classed together in the pictures of the true Buddhist
school; but it is evident that a body so oddly composed can form no
serious element of a serious religion. Four, at least, of the number
merely rank as familiar demigods, in whose composition much
of the clay of humanity is admixed with the divine essence; as
incarnations, who, with fleshly form, have assumed some carnal
weaknesses, and, understanding mortals in a kindly way, cast no
ascetic glances upon the pardonable frailties of the race. They
would be well loved, and well fought for if need be, but little fear
and not very much respect commingle with the affection. The other
three still, however, retain, in their separate forms, the panoply of
the Church, and hence keep their hold upon the veneration of the
people.
Although not one out of a thousand of the people can impart any-
thing upon the subject that would be of use to a student of compara-
tive religions, many a child in Japan has been rocked to his earliest
 BUDDHIST SCHOOL. 29

infant sleep by the soothing sounds of the Japanese ‘ See-saw,

Margery Daw 一
“Sen-do, man-do, o funé wa gichirako.
Ebis’ Sama, Daikoku Sama,
Fuku no kami yo !
Gichi, gichi, kogéba,” &c.,

which announces the rowing into port of the Treasure-boat, with the
seven gods, on New Year’s Eve; and his parents and grandparents
yearly, at the same season, 可 大 Ebisu, Daikoku, and Fuku-roku-
jiu to the household as Gods of Good Fortune, while exorcising all
evil demons by showers of beans,* with shouts of “ Fuku wa uchi, Oni
wa soto.” (‘“Enter, good spirits ; devils, avaunt!”) The household is
scarcely complete without a picture or image of one or more of the
favourite gods, and no popular album or sketch-book fails to contain
half-a-dozen or more amusing plays upon the same inexhaustible
theme.
The separate elements of the little group are derived from no less
than four different sourees—Brahmanism, Buddhism, Taoism, and
Shintoism. Thus, Bishamon is the Buddhist Vais’ramana and the
Brahmanic Kuvera; Benten is Sarasvati, the wife of Brahma ;
Daikoku is an extremely popularised form of Mahakila, the black-
faced Temple Guardian ;Hotei has Taoist attributes, but is regarded
as an incarnation of Maitréya, the Buddhist Messiah; Fuku-roku-
jiu is of purely Taoist origin, and is perhaps. a personification of
Lao-Tsze himself; Ju-r0-jin ， is almost certainly a duplicate of
Fuku-roku-jiu ; and lastly, Ebisu, as the son of Izanagi and
Izanami, is a contribution from the Shint5 hero-worship.
There is no clueas to either the authorship or period of this hete:
rogeneous association, but it certainly has no claim to great antiquity,
notwithstanding the more or less remote origin of its individual
members. The oldest picture in which the writer has seen the
seven represented together is No. 206 in the collection, the work of
Tosa Mrrsv-suxé, painted about 1700 a.p. (and here it may be
remarked that the treatment is far more formal than in later
sketches). A series of the Shichi-fuku-jin is figured in the first
edition of the Butsu 2d Dzu-i (1752), but Kichi-jo-ten, originally

* A shower of beans is to the Buddhist demons as disagreeable a salutation as the

drops of holy water of Roman Catholicism are to the disciples of the arch-fiend of
Christianity.
30 JAPANESE PICTORIAL ART.

the Brahmanic Lakshmi, takes the place of Ju-rd-jin, while another

divine heptade brought together in the Buzen Shichi-fuku-jin ko
(published in 1701) replaces the names of the unorthodox Hotei,
Fuku-roku-jiu, Ju-ré-jin, and Ebisu, by those of Ari-tei, or
Ki-shi-mo-jin (Hariti), Kichi-j6 Ten, Mani-batsudara Hoken Daisho
(described as a brother of Bishamon and god of wealth), and Ken-
ro-chi Ten (a goddess of agriculture).* In addition to these, two
groups of purely Shint6 divinities are recognised under the name of
Japanese Shichi-fuku-jin, as in Nos. 252 and 242 of the collection.
The literature of the subject is remarkably scanty, and includes
only one fairly complete notice of the whole company—that given in
the Hengaku ki han t—which has been translated, with the addition
of many valuable notes, by Signor Puini. Some further information
may be obtained from the Buzen Shichi-fuku-jin ki, Ressen-zen Den,
and other works, and from the text appended to the woodcut
illustrations in various artistic books. From none of these sources,
however, do we gain a truthful conception of the popular estimate
of the familiar divinities which, at the present day, owe their
vitality rather to the artist than to the priest, and have received,
together with some rather rude handling, nearly the whole of their
extended popularity and influence from their lay supporters.
The chief facts known concerning the personages of the principal
group are mentioned under the respective names :—
1. Fuxu-roxvu-s1u. The pseudonym of the old man with the tall
head signifies “ Wealth, Prosperity, and Longevity.” He has nothing
worthy of the name of a history, and his very identity is hopelessly
entangled with that of Ju-ré-jin. He is, however, undoubtedly of
Taoist origin, perhaps representing Lao-T'sze himself, and all that is
known of him is derived from Chinese writings.
In the Yu-sho Ressen-zen Den, an illustrated description of the
Sennin or Rishi, reproduced in facsimile in Japan from the Chinese
in 1651, will be seen a woodcut representing three persons in
conversation, one of these corresponding exactly to the Japanese
sketches of Fuku-roku-jiu. The purport of the text is that
Kwaboku, a sage, “to whom were open the secret thoughts of
others, and who was able to restore the dead to life,’ told his

» * Some of these divinities are of Brahmanic origin, but were adopted by the
Buddhists, and hence the group is considered purely Buddhistic.
+ Republished under the name of Miako no Yé-ma Kagami.
PLATE 2.

(Page
44.)

JU-RO-JIN.

30.)
(Page
FUKU-ROKU-JIU.

Masayoshi.
Kitawo
After

THE
SHICHI-FUKU-JIN
fpisu.
(Page
36.)

(Page
36.)

HOTEI.

Winn
SUITE
es
WIZZ 33.)
(Page
DAIKOKU,
 yal
Pats AG:
人
eta 汪

WA
a Ana Fe iS
 BUDDHIST SCHOOL. 31

disciple that he was about to receive a visit from a stranger. On

the next day appeared a personage dressed in red raiment; he
was five feet in height, three feet in breadth, and his head was
half as tall as his body. He and the sage conversed merrily in
a language that was unlike that of men. After having partaken
of food, the guest departed, and Kwaboku told his disciple that
his friend was named Jotei, and that he was an impersonification
of Taisan Roshi (Lao-T'sze). This story has been repeated in the
Sha-hd Bukuro* and Hengaku ki han; and in another portion of
the former work is given a portrait of the tall-headed Rishi, who
is described in the text as “Jotei, generally called Fuku-roku-jiu.”
A popular account of Fuku-roku-jiu is given in the H-hon
Koji dan.t He is there called the Ancient of the Star of the
South Pole (Nan-kioku-ré-jin-sei), the luminary which presides
over human life, and by its appearance announces peace to the
world. The following story is then related in support of this
identification. “In the period Yuan-Yew (1086-1094 a.p.) there
lived an old man in the capital of China (Kien-Kang). He was
only three feet high, and of this measurement his head formed the
moiety. Every day he went into the city and foretold the future to
the people. With the proceeds of his prophetic trade he bought
saké, and when he had drunk freely he would strike his head and say,
‘I am a sage, and can bestow the gift of long life.” A certain
man having seen him, painted his portrait, and presented it to
the Emperor, who summoned the strange being to the palace, and
after regaling him with saké, asked how many were the years he
numbered. He made no reply, but told many stories of past
ages, and suddenly vanished, no one knew whither. On the follow-
ing morning it was announced that the light of the South Pole
star had on the past evening touched the Imperial palace.
The Emperor then comprehended that the old man was an incar-
nation of the Star of Longevity, and preserved his portrait with
the deepest veneration.{ The pictures drawn at the present day

. * A book for artists published in 1720.

t A book for artists, published in 1714, with illustrations by Tachibana no
Morikuni.
{ A similar story quoted from the Pazoku-ki, or Record of Customs, is translated
in Signor Puini’s work, ‘I sette Genii della Felicita.’ In this, however, the
Emperor speaks of his visitor as R6-jin-sei, a name given to Ju-rd-jin in the Kimmdé
Dzu-i (a Japanese cyclopadia published in 1798).
32 JAPANESE PICTORIAL ART.

are derived from this, but in late years representations of the

deer, crane, and tortoise, animals emblematic of long life, have
been placed by the side of the sage.”
The portrait of Fuku-roku-jiu was one of the favourite exer-
cises of the Kano painters, but it has now been appropriated by
artists of the popular school. The usual figure is, as described, that
of an old man in the garb of a scholar of the ancient dynasties,
of low stature but enormous frontal development, the summit of
the cranium apparently gaining in elevation from each successive
generation of artists. His attributes are a hairy-tailed tortoise, a
white crane, a white deer, a crooked staff, a manuscript roll, and
a Sacred Gem, the latter being probably a Buddhistic addition.
The staff, the roll, the deer, and occasionally the crane, are also
associated with Ju-ré-jin, who, as already remarked, is apparently
identical with Fuku-roku-jiu.
In a modern Chinese treatise upon the Taoist Rishis, called the
Ineh hsien chuan, is a picture of Tung Wang Kung,* which closely
resembles the later representations of Fuku-roku-jiu. The patri-
arch appears as an old man with an extremely lofty brow, clothed in
long robes, and holding a Ju-i By his side stands a crane, and he
is attended by two boys, one of whom holds a peach, the other two
rolls suspended from a long staff. A large character, signifying
longevity, is emblazoned upon the front of the dress.
The older drawings of Fuku-roku-jiu generally succeeded in
conferring a certain dignity upon the curious figure, but the
popular artist, although sometimes treating him with all due
respect, in view of the enormous number of Chinese characters
that so lofty a .brain-case might be supposed to accommodate,
usually takes advantage of the weak points in his reputation, and
shows him revelling in wine bouts with his fellow gods (such an
indulgence, be it understood, in no wise derogating from his
abstract dignity in Sinico-Japanese eyes), dancing, wrestling, per-
* Tung Wang Kung, according to Taoist legend, was one of the first beings
evolved from Chaos by the spontaneous volition of the primordial principle. He is
described also as the husband of the Fairy Si Wang Mu (see No. 705). His attributes
are said to be of Indian origin, arranged in imitation of the legends relating to Indra
and his consort (Mayers). He is rarely, if ever, referred to in Japanese literature.
+ The Ju-i (Jap. Nio-i) is a short curved rod, generally carved in jade or some
other valuable material. It is probably of Buddhistic origin, and is regarded as a
symbol of the power of the Faith. In Buddhist pictures it is usually placed in the
hands of priests of high rank.
 ae:
teh
Meo
: aye 二

4 am
asFT Tine
vu
yy oun
the
RE ob | 4
es
 BEATE 3.

40.)
(Page

36.)
(Page
是 其 Ih | ALEK

> fol Re HN TEN,EBISU.

BEN-ZAI

WBDO CRE ho+ Be mH 2

dzu-
Buf
the
Fro
26
(Page
33.)
44.)
(Page

DAIKOKU.
JURO.

,
{ am
ae Mil
全 SHI
THE
性 N

(Page
40.)
33.)
(Page
DAIKOKU

BENTEN.

36.)
(Page

HOTEI,

Mas
Kit
Aft
30.)
(Page

(Page
39.)

A
yy)os
?
BISHAMO
FUKU-ROKU*
yy
“
 BUDDHIST SCHOOL. 33

forming on the slack rope, and forgetting his divinity in a hundred

other ways; or even ventures to hint at the inconvenience of the
majestic cranial eminence by depicting the vain efforts of the
distracted sage to reach an aggressive mosquito that is engaged
on the far-off summit. But although the Fuku-roku-jiu of the
artist may sometimes impress and sometimes amuse us, the subject
has now almost lost its interest through its constant and unvarying
repetitions in the inferior works that at present deluge the foreign
markets. It is however to a modern painter that we owe the
noblest and most original conception of the subject, and in the
picture of Krxucnr Yosar (No. 2346) will be seen the impression
that the quaint traditions concerning the Taoist Rishi have
made upon the cultivated mind of the true artist who has
given us so many grand types in his monumental work the Zen-ken
ko-jitsu.
2. Darxoxv, unlike Fuku-roku-jiu, appears to have no artistic
prototype in China, and in his well-known modern form is a
Japanese creation. As a Buddhist divinity he is identical with
Mahakala (of which name the word Daikoku is but a trans-
lation), the black-faced god formerly placed before the gates of
Indian and Chinese temples, but there is no resemblance, except
in complexion, between the stern Sivan deity and the comical
short-legged Daikoku of Japan. The god is not, as might be
implied from his form and attributes, a commercial divinity.
The San-zat Dzu-yé (vol. Ixxiv. p. 30) says that “Daikoku Ten is
an Indian divinity. The military class hold him in honour on
account of his resemblance to Marishi Ten (Maritchi Déva), and pray
to him for success in war; the monks have faith in him and sup-
plicate for alms, and the people revere him and beseech him for
prosperity.” In all probability Daikoku is indebted for his con-
nection with agricultural produce to an etymological blunder that
has caused him to be confused with a Shintd god (see note, p. 36).
Daikoku, as seen in modern works of art, is a sturdy figure
habited in the ancient dress of a well-to-do Chinese burgher—
a short coat girded at the waist, loose breeches, and a pair of
huge boots that completely engulph his nether members; upon
his head is a low cap, the crown of which projects forward over
his brow. In his right hand he holds a mallet, marked upon its
striking surfaces with the outline of the Sacred Gem, and the left
D
34 JAPANESE PICTORIAL ART.

hand grasps the neck of a sack which is slung across his shoulder.
He stands upon a well-filled pair of rice-bales. The face is some-
times blackened in deference to Buddhistic tradition, but retains
nothing of the terrors of the original form, for. it is always broad
and good-humoured, and beams with an expression of prosperity
that the devotees at his shrine find more reassuring than the
threatening aspect of the true Mahakala. He is generally accom-
panied by a white rat, but. the animal is not, as might be
supposed, introduced on account of the connection between rats and
rice-bales, but because the day set apart as sacred to the god is that
known in the Japanese calendar as the “day of the Rat.” “ Why,”
says’ the San-zai dzu-yé, “should Daikoku affect an animal that
steals rice and grain?” In the earliest Japanese representations
of Daikoku the rice-bales are replaced by a lotus leaf; the hammer
and bag were added in the eighth century by Kobo Daishi, in
accordance with a vision in which the god appeared to him as
the ‘Lord of the Five Cereals.” The engraving, No. 3532, from
a block attributed to Kobé Daishi himself, shows a form very
similar to that now adopted, but without the elements of comicality.
There are several different Buddhistic figures of Daikoku, but
they are rarely seen except in religious books. In the Butsu 26
dzu-t are given seven different representations, six of which are
grouped together as the Roku Daikoku. These are as follows :一

1. Biku Daikoku. In the dress of a mendicant priest (Bhikchu),

with a sword in one hand, a hammer in the other.
2. Mahakara Daikoku Nio. Dressed as a female, and sup-
porting a rice-bale upon his head.
3. Ojikara D. In old Chinese dress, holding a sword and
vadjra.
4. Shinda D. As a boy holding a Sacred Gem (¢chintimani).
5. Yasha D. In the same dress as 3, but holding a tchakra
in the right hand.
6. Makara D. With hammer and bag, as in the ordinary
form, but divested of the great boots, and standing upon
a lotus-leaf pedestal instead of rice-bales.
The seventh representation is called the San-men Daikoku or
Three-faced Daikoku. He has in this the ordinary form, and
stands upon rice-bales, but his figure is incorporated with those
 BUDDHIST SCHOOL. 35

of Benten and Bishamon; the profile of Bishamon on the left, and

that of Benten on the right of the features of Daikoku, completing
the triple visage which gives the name to the image. There is
a single body, but this is furnished with six arms, the two
belonging to the head of Bishamon holding the spear and sceptre,
those of Benten the sacred key and the precious ball, while the
central pair grasp the usual bag and mallet. The text tells us
that the deity appeared in this form to Dengio Daishi after he
had built the monastery of Enriakuji.
In the Sha-hé Bukuro, Daikoku is described as the God of
the Five Cereals. ‘‘ His body is round, he carries upon his back a
round bag, and holds in his hand a hammer by which he in-
corporates the In and Yo (Ying and Yang), and so leads to the
evolution of all things. He is always painted blue, the colour of
heaven. Koku, or black, is the colour that belongs to the point of
the compass entitled that of the Rat (North), and for this reason
he wears a black cap. Beneath his feet are placed rice-bales,
to show that he is the divinity of the Cereals. The mallet
is called the Konton no tsuchi, or hammer of Chaos.” The bag
is usually supposed to contain the Takara-mono, or precious
objects.
The Buzen Shicht-fuku-jin ké includes Daikoku as one of the seven
gods of good fortune. It states that in India this divinity was
placed near the doorposts of the Temple dining-hall, or in front
of the Treasury gate. The image was carved in wood, and stood
two or three feet high; it was represented in a sitting position, and
holding a money bag. The Indians were in the habit of rubbing
the body with oil to blacken it, and hence the name of Mahakara,
or Dai-koku-jin, which means the Great Black God. He belongs
to the Great Heaven, and guards the Three Treasures. He can confer
all things that men desire, and is the “God of War.” The book
goes on to state that the image with rice-bales, and the three-faced
Daikoku, are not deserving of faith.
Daikoku has been identified with a Shint6 divinity, O kuni nushi
no Kami, or O-na muji no Kami, the seventh descendant of Susand
no Mikoto, of whose birth, marriages, offspring, &c., a long account
is given in the Kai-biaku Yu-rai-ki ; but as this consists principally
of names of great length, and offers no particulars of general
interest, it ‘will not repay quotation. The identity is referred
. pd 2
36 JAPANESE PICTORIAL ART.

to in the B-hon Koji dan, and the god is there spoken of as the
inventor of the medicinal treatment of men and animals.*
The position of Daikoku, as a household divinity, is very high,
perhaps owing to the manifest signs of wealth that surround him ;
but while he is entitled to appear with Benten and Bishamon in all
the blazonry of the true Butsw yé, he is compelled to share with
Fukurokujiu the easy familiarity of his artistic and literary admirers;
for the stern Temple Guardian of India becomes in the hands of the
Japanese draughtsman a portly corn-dealer, dangling his creative
mallet at the end of a string, for the joint amusement of himself
and his attendant rat; and in the popular story-book is treated with
less ceremony than the ‘pettiest official of a government bureau.
(See the tale of Daikoku and the Oni as told by Mr. Griffis in
‘The Japanese Fairy World.’)
3. Exisv, the fisherman, is a Japanese, but his sole claim to con-
sideration is the fact that he was the third son of Izanagi and
Izanami, the creators of great Japan and the progenitors of the
god-like race of which the Mikado is the lineal descendant. He
does not reflect much credit upon his parentage, for he was a
cripple,t eclipsed by his brilliant sister, the Sun goddess Amaterasu,
and ignored by his brother ‘ the dragon conqueror’ Susano, the
Lord of the Ocean. Even amongst the seven household gods he
appears to hold a very humble position in comparison with that of
his richer Indian colleague, Daikoku.
His real name is Hiruko no Mikoto, “ the leech-like lord,” and he
is called also Kayu no Mikoto. The E-hon Koji dan states that the
* The San-zai dzu-yé (vol. lxxiv. p. 30) refers to this question in the fol-
lowing terms :一 “In Kéta no Saki, in the province of Inaba, there is a (figure of)
O na muji, with a wallet over his shoulder. One of the names of O na muji is
O kuni nushi (i.e. Daikoku shiu) no Kami. Some persons have hence surmised
that by a confusion of homonyms Daikoku came to be represented as O kuni nushi.
This conjecture seems probable. The Buddhist clergy are fond of identifying the
various gods with their Buddhas.” This theory offers a fairly satisfactory expla-
nation of the otherwise inexplicable alteration in the form and attributes of the
Indian Mahak&la in his transition into the Japanese Daikoku. The word Daikoku,
taken apart from the ‘characters with which it is written, may have the same
meaning as O kuni.
+ A passage in the Nthon-gi, quoted in the San-zai dzu-yé, says: “The two gods
Tzanagi and Izanami begat Kayu. This god even when three years old could not
stand on his legs; they therefore embarked him in the Heavenly Boat of adamantine
camphor wood, and turned him adrift to the winds.
“和 “How could his father and mother think him beautiful, who could not stand erect
though three years old!’ ”
 BUDDHIST SCHOOL. 37

ordinary name Ebisu, or Hbisu Saburd, has been wrongly applied,

owing to some confusion with another divinity, Okino Ebisu, who
has a shrine at the temple of Nishi no miya, in the province of
Settsu. The San-zac dzu-yé, quoting from a certain chronicle,
gives a brief account of this divinity, who is there called “ Kaiko,
the younger brother of Amatérasu Omikami.”
The earliest drawings, which do not appear to be older than two
hundred years, represent him as he is depicted at the present
time—in Japanese dress, holding the red tai (Chrysophris cardinalis)
in one hand, and a fishing-rod in the other. In this guise he
appears in the first edition of the Butsu 26 dzu-t. In popular
sketches he is usually drawn with a laughing countenance, watching
the struggles of the tac at the end of his line; or, his fishing
appliances laid aside, he rejoices with his companions over a
Japanese Olympian banquet, of which the captive tat may form the
piece de résistance of the most appreciated course.
He is sometimes associated with the two preceding divinities, to
complete a minor group of San-fuku-jin, the Three Gods of Good
Fortune, who are the special spiritual guests bidden to the new year’s
celebration of the people.
4, Horst, half Taoist, half Buddhist, is perhaps the least dignified
of the Seven, and is excluded from the secondary group of the
San-fuku-jin, aswell as from the Mahakala trinity whose position
is acknowledged by the most serious theologians; but he is, un-
doubtedly, the greatest favourite of the whole number with the
populace at large.
He is generally understood to have been a Chinese priest of the
tenth century, remembered for his fatness, his love of children, and
especially for always carrying a large cloth bag, from which his
name (ho-te?, cloth bag) is derived. The legends attached to him
are of a Taoist character. According to the H-hon Koji dan he was
accustomed to go into the streets to play with children, he could
sleep in the snow, never allowed water to touch his body, and
had the power of infallibly predicting future events. On these
accounts the people marvelled at him, and paid him great respect.
According to the same authority, his selection as one of the gods
of good fortune was due to his merry looks, his fondness for children,
and his resemblance to Daikoku.
The Sha-hd Bukuro describes him as a priest of Mount Shimei
38 JAPANESE PICTORIAL ART.

(Se Ming Shan, a mountain in China) who was very fat, had a pen-
dulous belly and wrinkled forehead, and was wont to beg food along
the public roads, carrying a bag and a stick. Another Hotei,
alluded to in the E-hon Hokan, was also accustomed to walk in
the streets, carrying a bag which he would use as a mattress, and
was fond of playing with children. “If any person questioned him,
he said that he was awaiting the coming of a friend, and that his
bag contained all things (Hiakw butsu—literally, a hundred things).
On a certain day there came to him a priest, who said, ‘ Wherefore
came you from the West (India)?’ Then Hotei making no reply,
cast aside his bag, stood erect, and vanished.”
Two others of the name, one living in the Sung, the other in the
Yiien dynasty, are mentioned in the same work, but without any
noteworthy comment.
These stories are very similar to those narrated of many Taoist
Genii, and the claim of Hotei to a position in the Buddhist pantheon
appears to be due to the view enunciated in the Butsu 26 dzu-t, and
other works, that he is an incarnation of Miroku Bosatsu (Maitréya),
the Messiah of the coming age, in which capacity his image has
long been worshipped in Chinese temples.
Innumerable pictures of Hotei, by Japanese artists, are in exist-
ence, some dating from the fifteenth century, and these were probably
preceded by Chinese originals; but he rarely appears in the true
Butsu yé, although his image is sometimes seen in the miniature
household shrines (Butsu-dan) and in temples.
The popular estimate of Hotei is less that of a god than of a
merry old fellow, with some supernatural attributes, whose heart still
retains a boyish freshness that leads him to share with zest the merry
sports of children. The little urchins, who cluster around him,
claim him as their own, and do not hesitate to take liberties with
their big playmate. His bag, which always has a bolster-like round-
ness, is put to many uses—it may be a bed upon which the owner
can spread his fat limbs, a receptacle for the Precious Things,* or a
* The “Takara-mono,” a set of objects, including the Hat of Invisibility, the
Lucky Rain Coat, the Sacred Key, the Inexhaustible Purse, the Precious Jewel,
the Clove (chdji), the Scrolls, the Hammer, the Weight (fundo), and the “ Shippo”
(a flat oval object often introduced into arabesques, probably a coin). These emblems,
frequently depicted on porcelain, lacquer, &c., are regarded as collectively symbolical
of prosperity, but their individual significance is little understood. The Takara-buné
is a treasure ship that is supposed to sail into port on New Year’s Eve with the
Takara-mono as cargo, and the Shichi-fuku-jin as passengers. :
 BUDDHIST SCHOOL. 39

trap for little boys and girls, who are enticed inside to see the
wonderful things it is supposed to contain, and are then imprisoned
until they can beg their way out; but whatever its original purpose,
it is always as inseparable from Hotei as are his fair round stomach
and double chin.
In pictures, and sometimes in carvings, he is associated with a
number of children, in Chinese dress, in full tide of fun around him.
He is, indeed, the special patron of children, and, unlike Ju-ré-jin
and Fuku-roku-jiu, neither assumes an irksome stateliness, nor carries
any disagreeably suggestive marks of learning to alloy the enjoy-
ment of his little flock. A minor attribute is a fan of the ancient
Chinese form, and occasionally this is replaced by a Sacred Gem.
A Japanese “ Hotei,” without the bag, is described and figured in
the Bokuwé Shin-gwa.* He is represented as a portly old man,
holding a Chinese fan, and riding in a dilapidated waggon drawn by
street boys. “He was called Shichi-hiyaku-sai, the Sage of Seven
Centuries—or, from his vehicle, Kuruma 86, the Waggon Priest;
but his real name and the place of his birth are unknown. He
claimed the age of seven hundred years, and he could relate with
eloquence many stories of ancient days. In later times he haunted
the mountains of Yamashina, but no one has learned the period of
his death.” ,
5. Bisoamon Ten, or Tamon Ten. This divinity is well known
to students of Buddhism, as the Brahmanic Kuvera or Hindoo
Plutus, and as Vais’ramana, the Maharadja of the northern quarter
of Mount Sumeru.
In the Buzen Shichi-fuku-jin ko he holds the place of honour
amongst the seven, and a long account is given of his powers.
Notwithstanding his fierce looks and martial guise, he is not
especially associated with military glory, either in China or Japan,f
but is more particularly regarded as a God of Wealth. In the work
just named, we are told that to those who pray to him, “he can grant
good fortune more swiftly than the flight of an arrow from the bow,
and will confer gold, silver, the seven precious treasures, the Nio-d

* A collection of “New Pictures,” in illustration of Japanese and Chinese

legends, by Hogen Shunboku, published in 1750.
+ The generally recognised “ God of War” of China is Kwan Yi a hero of the
third century; and in Japan the same position is assigned to Hachiman, the
deified son of the Empress Jing5，
40 JAPANESE PICTORIAL ART.

Ho6-jiu (the Precious Jewel of Omnipotence), fields, houses, and rice

and other grain, together with rank, renown, and wisdom. Those
who believe in him will gain fortune, long life, wisdom, pleasure, &c.;
and he who honours him will have the privilege of dwelling for ever
in his country, and will be able to cure diseases, and to increase his
riches.” It will be noticed that the promised recompense to the faith-
ful, though sufficiently comprehensive, tends chiefly in the direction
of worldly wealth.
The first appearance of the god in Japan was on the occasion of
the war of Shotoku Taishi against Moriya, the enemy of early
Buddhism. It is said that the prince sacrificed to the four Maha-
radjas before the deciding battle, and carved small images of them
to place in his helmet. During the battle his life was saved by
Bishamon, who appeared in the form of an old man. “ Thence-
forth many great warriors prayed to the god to grant them
victory.” This story, however, does not imply that Bishamon was
a Buddhist Mars, but merely that success in war was one of the
many rewards at his disposal. The close of his long panegyric
says that “in the present world he confers wisdom and fortune.”
In true Buddhistic art Bishamon and his three brethren play a
very important part. Their images were amongst the first subjects
that inspired the early native sculptors, and no expense was spared
to make these idols gorgeous monuments of the faith. In Butsu-yé,
Bishamon may appear alone, or in the groups of the Four Maha-
radjas (Shi Ten O) or Twelve Déva Kings (Jiu-ni 0),* or incorpo-
rated with Daikoku and Benten; and in the works of other schools
as one of the Shichi-fuku-jin. The modern artist, however, finding
little demand for serious renderings of the figure, fearlessly strips
him of his dignity, to show him making love to Benten, drinking
enormous cups of saké, playing at go with his companions, or
good-naturedly bearing the general baggage upon his _ broad
shoulders, and looking as blithe and unburdened with pride as
Hotei himself.
6. BEN-ZAI TEN (popularly abbreviated to Benten), “the Dévi of
Eloquence and Talents,” like Bishamon and Daikoku, is the object

* An unusual form, seen in Nos. 46 and 47, is characterized by the presence of

four heads, and eight supplementary arms, each grasping a symbol.
{+ The name Ben-zai Ten when written with other charactcrs may signify “the
Dévi who governs Treasures.” —Nanjio.
 BUDDHIST SCHOOL. 41

of a serious cult. She is identified with Sarasvati, the Brahmanic

goddess of speech and learning, the wife or female energy of
Brahma, or, with Vach (speech), the wife and creation of Pradjapati.
Sarasvati was commonly invoked as a kind of muse, or patroness of
science, and as the inventor of the Sanskrit language and letters,
but in the earliest mythology she was probably a river deity. She is
referred to in the Rig Véda as the best of mothers, of rivers, and
of goddesses; again as bestowing wealth, fertility, and offspring;
and is mentioned in one place as the wife of Indra. (See Monier
Williams’ ‘ Sanskrit-English Dictionary.’)
It is suggested in the Hengaku ki han that Benten was merely
a Gandharva, or musician, in the suite of Indra; but this is
probably an error.
The representations are very numerous. In Buddhist pictures her
image is seen in three principal forms: as the Dai Ben-zai Ten,
grasping a vadjra-hilted sword and a sacred gem; as the Happi Ben-
zai Ten, and as the Kongo Mio Benten, the two latter having each
eight arms, holding various symbols. The crown bears the figure of a
Shinto tori,* beneath which is a white serpent, with a head like that
ofan old man. In secular paintings she is more often shown as the
Mio-on Ten, ‘ the goddess with the beautiful voice,’ an image of a much
more simple form, in which the great crown is replaced by a small
tiara, and the richly decorated attire by a flowing robe, while the
Buddhist symbols disappear in favour of a stringed instrument of
music, the emblem of Harmony. In Indian art Sarasvati appears
as a fair and graceful woman, crowned with the crescent on her
brow, and either seated upon a swan or paddy bird, or standing upon
a lotus. In one hand, as Vach, the goddess of Speech, she holds a
written scroll, and in the other, as the goddess of Music and Song,
the vina, or vial formed of two gourds. (See Birdwood’s ‘ Indian
Arts,’ vol. i. p. 55.)
Her attribute in religious pictures is a Serpent or Dragon, which
usually appears coiled around the rock upon which she is seated.
The origin of the connection is obscure, but it is generally supposed
to have arisen from the fact, that the day upon which the goddess
first appeared in Japan was that of ‘the snake.’ At any rate it is
Japanese, as no such association exists in the case of Sarasvati.
* The torii is a simple kind of gateway consisting of a horizontal beam placed
upon two posts: it is said to have been a bird-perch in its original form.
42 JAPANESE PICTORIAL ART.

In deference to this divine bond between the reptile and the

goddess, snakes are to this day held sacred in many parts of Japan,
and particularly in such places as Enoshima, Chikubushima, and
Itsukushima, where the worship of Benten is actively carried on;
the respect is no doubt largely supported by the Buddhistic un-
willingness to injure any living creature, and perhaps by some
physical fear of the animal. As is often the case, the attribute
becomes confounded with the divinity itself; hence Benten is
occasionally supposed to assume the form of a large serpent or
dragon, and in an ancient picture by Kanaoxa (No. 78 in the col-
lection) the form of the goddess terminates below the waist in scaly
coils.
The following story of the first appearance of Benten in Japan
is quoted from the ‘Handbook for Japan’ :一
“ Before the existence of Enoshima that part of the sea now
occupied by the cave was inhabited by a dragon, who used to devour
the children of the neighbouring village of Koshigoyé..... In the
reign of Kimmei Tenno (540-571 a.p.) a violent earthquake took
place, and at the same time an Apsaras appeared in the clouds over
the spot inhabited by the monster. An island then suddenly rose
up out of the sea, upon which she descended, and marrying the
monster, put an end to his destructive ravages.”
Other names of Benten, besides those mentioned, are: “‘ Ku-doku
Ten-nio, the goddess of meritorious works ; Mid-on Ten-nio, the god-
dess of the beautiful voice ;and Uga no Kami, or Uké mochi no Kami,
the lordly protector of food.” The latter title belongs to a Shinto
divinity, said to be a transformation of Benten, but afterwards iden-
tified with Inari. The Shintd goddess Itsukushima Himé also is
regarded as an avatdra of Benten.
There is nothing in the accounts of the goddess to justify the
European belief that she is the guardian of matrimonial bliss. The
Buaen Shichifukujin ko, quoting from a siitra, called Saishé 6 Kid,*
says that she confers upon her worshippers “wisdom, eloquence,
victory in war, and money in abundance.” In the present day the
most ardent prayers addressed to her shrine are for wealth; and in

* This SGtra is the last and most popular translation of one of the nine principal
texts of the Nepalese Buddhists entitied ‘Suvarna prabh4sottama sitrarddja.’ The
eighth and ninth chapters of this text are devoted to Sarasvati and S’ri-mahadévi
(Kichi-jo Ten) respectivel y.—Nanjio.
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 BUDDHIST SCHOOL. 43

accordance with this view of her functions, the name Ben-zai-ten

is sometimes written with characters that signify “the goddess who
governs or distributes riches” (Sansk. Dhandada).
The Benten of the Japanese popular draughtsmen, like the
‘Virgin’ of European medieval painting, often sacrifices her
divinity to her womanhood, and is always drawn in the outlines
which express the native ideal of female beauty. When represented
in company with her fellow gods she commonly appears as musician
to the party; but the artist, although not always inclined to respect
propriety when a good joke is to be coined out of sacred metal,
rarely lets his humour drift into indecent familiarity with the one
lady of his Penates.
Benten, in her severer Buddhistie image, is. often shown sur-
rounded by her fifteen sons (Jiu-go Ddji), who appear to symbolize
the principal occupations of life. They are all youthful figures
with long hair and clad in Chinese dress, and each bears his special
attribute. Their number is sometimes increased to sixteen.
The following list is extracted from the Butsu zd Dzu-d and other
sources :一 :
1, Inyaku, or Jako. A transformation of Shaka (S’4kyamuni).
Attribute: A sacred gem and key.
2. Kwantai, or Sékion. A transformation of Fugen Bosatsu
(Samantabhadra). Attribute: A girdle (said to be the
emblem of magistrature).
3. Hikken, or Kosei. A transformation of Kongishu Bosatsu
(Vadjrapaini). Attribute: Brush and ink-box for writing.
4, Konzai, or Shdjo. <A transformation of Yakushi Niorai
(Bhaichadjyaguru). Attribute: A balance for weighing
money.
5. Tochiu, or Daijin. A transformation of Monju Bosatsu
(Mandjus’ri). ”Attribute : Sheaves of rice.
6. Keishd, or Akujo. A transformation of Jizd Bosatsu (K’schiti-
garbha). Attribute; Grain measure.
7, Hanki, or Shitsugetsu. A transformation of Sendanko
Butsu (Tchandanagandha). Attribute: Rice dish.
8. Isho, or Joki. A transformation of Marishi Ten (Maritchi
Déva). Attribute: A bundle of clothing.
9. Sanyd, or Himan. A transformation of Seishi Bosatsu
(Mahasthamaprapta). Attribute: Silk-worms.
44 JAPANESE PICTORIAL ART.

10. Shusen, or Misshaku. A transformation of Muridju Mi0-5

(Amitibha ?). Attribute: Wine vessel and sacred gem.
11. Aikid, or Ségon. A transformation of Kwanzeon Bosatsu
(Avalokités’vara). Attribute: Bow and arrow.
12. Shémis, or Saikoku. A transformation of Miroku Bosatsu
(Maitréya). Attribute: Sword and sacred gem.
13. Jasha, or Sémui. A transformation of Riuju Bosatsu
(Nigirdjuna). Attribute: Three sacred gems.
14, Giuba, or Zuirei. A transformation of Yakuw6 Bosatsu
(Bhaichadjyaradja). Attribute: Horse and draught-ox.
15. Sensha, or Komis. A transformation of Yakujd Bosatsu
(Bhaichadjyaradjasamudgata). Attribute: Boat and waggon
: containing bales of rice.
The sixteenth, who is not usually considered as an orthodox
member of the group, is named Zenzai, or Otsugo. He is distin-
guished by a bag supposed to contain good gifts for the believers.
7. Ju-no, or Ju-zd-s1n, the Genius of Longevity, is the last of the
generally accepted group. He has already been referred to as having
only a very questionable right to any separate existence; and there
is little doubt that the figure known under this name, and the tall-
headed Fuku-roku-jiu, are different conceptions of the same person-
age. In the older pictures we meet with many forms intermediate
between the two types, where Fuku-roku-jiuy gaining in height and
dignity while his sinciput parts with someof its comically intellec-
tual development, offers a very close resemblance to Ju-ré-jin. The
attributes of the two are the same; the crane, white stag, and tortoise
appertaining to either; and their names are often interchangeable,
as in the Chinese legend already quoted, in which the personage
answering to the description of Fuku-roku-jiu is called Ju-r6-jin.
Again, in the first edition of the Butsu 20 Dzu-i an unquestion-
able representation of Fuku-roku-jiu receives the same appella-
tion, while in the second edition of the work the ordinary name
is appended, and that of Ju-ro is left. out altogether. In neither
issues do both appear, the total of the divinities being made up by
the introduction of a Brahmanic goddess called Kichi-jo-ten.
The representations of Ju-ré-jin show a tall, venerable man,
in the dress of a scholar, bearing on his head a transparent cap.
He usually holds in one hand a fan, in the other a long stick from
which is suspended a roll, and by his side stands a white stag. The
 BUDDHIST SCHOOL. 45

bamboo, plum, and pine, as emblems of longevity, are frequently

depicted in the background. In this form Ju-ré-jin appears in a
picture by Sxssu10, painted four hundred years ago. (See No. 1223.)
He nearly always retains his imposing figure, even in the most
rollicking compositions of the popular artist, and in the merry
groups of the Shichi-fuku-jin generally seems to be looking on at
his companions with a sage indulgence that pardons but does not
share their mirth.

A few words may be said in conclusion as to Kicu1-30 Ten. This

divinity is represented in the Butsu zd Dzu-i as a female figure
standing erect, and casting around her numbers of sacred gems,
emblematic of divine gifts; and in another place, seated, holding a
gem in the left hand. She is described in the text as the sister of
Bishamon.
The characters with which “ Kichi” and “ J6,” the first two syllables
of the name, are written, have both the significance of ‘ Good
Fortune.” According to the Hengaku ki han, the word “ Kichi” is
used to translate the Sanskrit “S’ri,” which appears to be a name, or
title, of many divinities, amongst others of Sarasvati, or Benten.
The terminal “Ten” here signifies Dévi.
Kichij6 is in all probability identical with the Brahmanic
Lakshmi,* the goddess of Fortune and Beauty, who, according to
a legend in the Rdmdyana, sprang, with other precious things,
from the froth of the ocean, when it was churned by the gods and
demons for the recovery of the Amrita. She appeared with a lotus
in her hand, whence she is also called Padma. Another legend
depicts her at the creation floating over the water on the expanded
petals of a lotus flower. {
Many additional details concerning Kichijo will be found in
Signor Puini’s ‘I sette Genii della Felicita.” In the Sttra
there quoted her gifts are said to be raiment, food, gold, silver
agates, crops in abundance, and other material blessings. She is
in fact “a Goddess of Wealth.” ‘For an account of the representa-
tions of Lakshmi in Indian art, see Birdwood’s ‘Industrial Arts
of India,’ vol. 1. p. 58.

* Lakshmi by its derivation means good fortune, happiness, beauty, or splendour.

+ See Monier Williams’ ‘Sanskrit- English Dictionary.’
46 JAPANESE PICTORIAL ART.

THE SIXTEEN ARHATS.

The following list of the sixteen Arhats (Jap. Rakan) was originally
extracted from one of the 1662 works known collectively as the
Chinese Buddhist Tripitaka (of which a copy is in the possession
of the India Office library). The Sanskrit and Indian names have
been furnished by Mr. Bunyiu Nanjio.
In modern China the number of this primary group of Arhats has
been increased to eighteen (Mayers, Eitel), but in Japanese pictures
the original total of sixteen appears to be always preserved. Two
of the group, Bhadra and Panthaka (Nos. 6 and 10), are frequently
depicted apart from the rest, probably on account of the Tiger
and Dragon which form the respective attributes of the pair.
Larger groups of 500 and 1200 are also recognised, and paintings
and sculptures representing the 500 Rakan are by no means
uncommon in the older temples of Japan.
The attributes by which the figures may commonly be recog-
nised are described from the engravings in the Butsu Zo Dzu-t,
and from various paintings and sculptures. |
Of the three names given for each Arhat, the first expresses the
Japanese pronunciation according to Mr. Nanjio (and by the side of
this is placed in brackets the Butsw Zo Dzu-i transliteration), the
second gives the Pekinese pronunciation, and the third the Sanskrit
equivalent. With respect to the latter, however, the identification
is often attended with great difficulty. /

1. Bin do ra batsu ra dazha (Hatsura Tasha Sonja); Ch. Pin tu

lo poh lo to shé; Sansk. Pindola Bhadradvaja (?). An aged
man seated upon a rock by the sea-shore, holding tablets (?)
and a short fly-brush (Butsu Z6 Dzu-1).
2. Ka na ka ba sha (Kiyataka Hasha Sonja) ; Ch. Chia noh chia fa
trsho ;Sansk, Kanakavajra (?). Usually seated in a priestly
chair, holding a long fly-brush (B. Z. D.).
3. Batsu ri da zha (Dakaharita Sonja) ; Ch. Poh. li to shé ; Sansk.
Bharadvaja. Holds a manuscript roll. An acolyte standing
by his side strikeg a bowl gong (ddbachi).
4. So bin da (Sohinda Sonja) ; Ch. Su pin tho; Sansk. Suvitta (?).
Seated upon a mat, hands folded upon knees (B. Z. D.).
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. Na ku na (or ro) (Dakora Sonja); Ch. Noh Chii na (or lo);

Sansk. Nakula (?). Seated upon a priest’s chair, holding a
rosary (B. Z. D.). |
. Batsu da ra (Hattara Sonja); Ch. Poh tho lo; Sansk. Bhadra.
Seated upon a rock, a tiger crouching at his feet. Sometimes
holds a ringed staff/(shakujo).
. Ka riki ka (Kari Sonja); Ch. am Sansk. Karika (?).
Seated upon a rock, reading a ed roll (B. Z. D.).
. Batzu zha ra butsu da ra (Hottata Sonja) ;Ch. Fa shé lo fo tho
lo; Sansk. Vajrabuddhara (?). Seated upon a stool, holding
a knotted staff.
. Zhu baku ka (Shiubaka Sonja) ; Ch. Shu poh chia ; Sansk. S’ub-
haka (?). Seated in a chair, a lotus pedestal by his side
(B. Z. D.). Occasion ly accompanied by a lion.
10. Han taku ka (HandaKa Sonja); Ch. Pan tho chia; Sansk.
Panthaka. Seated upon a rock, holding up a sacred gem,
which may be either of the usual form (with conical summit
and transverse lines), or perfectly round and transparent.
His aspect is generally vigorous and threatening. By his
side crouches a dragon, who appears to be striving to reach
the precious afb
11. Ra go ra (Rakora Sonja) ; Ch. La hula; Sansk. Rahula. Stands
with hands folded in prayer before a lotus pedestal bearing
a funagoko (the expanded somewhat boat-shaped gilded
plaque placed behind Buddhist divinities, probably repre-
senting the Halo).
12. Na ga sai na (Nakasaina Sonja); Ch. Na chié si na; Sansk.
Nagasena. Holding a begging-bowl from which ascends a
fountain of water. /
13. In katsu da (Inkada Sonja); Ch. Yin chié tho; Sansk.
Ingita (?). Holding a Buddhist sceptre (néo-2), a short staff
capped with a fish.
14, Batsu na ba shi (Hatsudabashi Sonja); Ch. Fa na pho sz’;
Sansk. ae (?). In prayer before a vase containing a
leafless branch of drooping peach (?).
15. A shi ta (Ashita Sonja) ; Ch. O sh’ to; Sansk. Ajita (?). Holds a
long knotted staff; by his side ig/a vase containing peonies.
16, Zhu ta han taku ka (Chiudahantaka Sonja); Ch. Chu thu
pan tho chia ; Sansk. Chullapanthaka. Looking up to heaven ;
48 JAPANESE PICTORIAL ART.

holds a fly-brush (B. Z. D.), or is seated upon a mat,

clasping his knee with both hands.

It is noticeable that in nearly all Japanese pictures the head of the

Arhat is encircled by a translucent nimbus. This is commonly —
absent in Chinese paintings, and is said to be invariably omitted in
Indian representations.

THE DRAGON AND TIGER.

The Japanese Dragon (Ch. Lung; Jap. Rid or Tatsu) is a faithful

transcript of the models received in early times from Chinese artists,
and although long since thoroughly incorporated with the native
traditions, its original characters do not appear to have undergone
any alteration, for the nineteenth-century Dragon of Hoxusat might,
in point of physiognomy and attributes, claim twin-brotherhood
with the creature depicted by the Sung Master, Mun-x1.
In its usual form it is a composite monster, with scowling head,
long straight horns, a scaly serpentine body, a bristling row of dorsal
spines, four limbs armed with formidable claws, and with curious
flame-like appendages to its shoulders and hips. The claws are
usually three on each foot, but the number may be increased to five.
According to the Japanese Cyclopedia, which quotes from a Chinese
authority, the Dragon has the head of a camel, the horns of a deer,
_ the eyes of a demon, the ears of an ox, the body of a serpent, the
scales of a carp, and the claws of an eagle. The artist, however,
does not adhere very strictly to these laws of composition.
Four kinds of Lung are enumerated by the Chinese. (1) The
Celestial Dragon, which guards the mansions of the gods, and sup-
ports them so that they do not fall; (2) The Spiritual Dragon,
which causes the winds to blow and produces rain for the benefit of
mankind ; (3) The Dragon of Earth, that marks out the courses of
rivers and streams; and (4) the Dragon of the Hidden Treasures,
which watches over the wealth concealed from mortals (Mayers).
There are a few variations of form and many of colour. The horns
may be wanting, the body may become wholly serpentine, or may be
exchanged for that of a winged fish, and the head may become
shortened, and lose its impressive characters. The colour may be
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 BUDDHIST SCHOOL. 49

snow-white like that of the Dragon enslaved by the fairy sounds of

the one-stringed lute of Tai Chén Wang Fujén ; yellow, like the ho-
noured “Dragon-horse ” that displayed the scroll of mystic diagrams
to the gaze of the Great Heavenly One, Fuh-hi; or blue, like the
Azure Dragon, that symbolizes the powers and functions of nature ;
and various other tints are occasionally chosen, according to the
fancy of the artist.
Zoologically it is regarded by the Chinese as the King of the scaly
tribe. In this position its figure appears in the most sober of the
works that represent the science of the Middle Kingdom, and the
Japanese author of an eighteenth-century book upon Natural History,
in which the animals are said to be “ drawn from nature,’ does not
scruple to introduce his series by an orthodox three-clawed Dragon.
Its attributes are very varied; like the Rishis, it can assume other
forms, and has the power of rendering itself visible or invisible at
will. According to Kwan Tsze (seventh century B.c.), as quoted by
Mayers, it “becomes at will reduced to the size of a silk-worm, or
swollen till it fills the space of heaven and earth.” It is however
subject to Buddha and his disciples, and is not only susceptible to
fleshly ailments, like the sickly monster that submitted its enfeebled
frame to the curative needles of the physician Ma She Hwang, but
is even amenable to human affections, as in the case of the dragon
which assumed mortal form as the Princess Toyotama and became an
ancestress of the Mikados.
In Chinese Buddhism it plays an important part, either as a force
auxiliary to the law, or as a malevolent creature to be converted or
quelled. Its usual character however is that of a Guardian of the
faith under the direction of Buddhas, Bédhisattvas, or Arhats, As
a Dragon King it officiates at the baptism of S’akyamuni, or bewails
his entrance into Nirvana ; as an attribute of saintly or divine per-
sonages it appears at the feet of the Arhat Panthaka, emerging from
the sea to salute the goddess Kwanyin, or as an attendant upon or
alternative form of Sarasvati, the Japanese Benten ; as an enemy to
mankind it meets its Perseus and Saint George in the Chinese mon-
arch Kao Tsu, and the Shinto God, Susand no Mikoto ; as an emblem
of majesty its name is an euphemism for that of the Emperors of
China and Japan, the Imperial throne becoming the Dragon Seat, the
face of the Ruler the Dragon Countenance ; and lastly, the days of
the Dragon and Tiger are chosen for the publication of the list of
E
50 JAPANESE PICTORIAL ART.

graduates at the examinations of the Middle Kingdom, because the

former is emblematic of the Sovereign, the latter of the Government.
Asthe presiding genius of the Rain-fall, it quits the waters to soar
through the heavens enshrouded in the murky wreaths of the storm-
cloud, through which are dimly shown its hideous head, menacing
claws, and snaky coils. In times of drought, moved by the prayers
or incantations of the people, it brings the refreshing showers upon
the parched earth. As appendages to Taoist legends, it appears
under the spell of the Rishi Ch’én Nan, or bearing the physician
Ma She Hwang to heaven. In Shintoism it appears as the true form
of Toyotama Himé, the wife of Hikohohodemi no Mikoto, whence the
Mikados of Japan derive their Dragon blood.* Lastly, as a symbol of
time and place, it gives its name to certain days and years, and to a
point of the compass.
There is little doubt that it was originally one of the many pro-
ducts of the ingenuity of the Chinese, who were especially fond of
evolying supernatural forms by the combination of heterogeneous
parts drawn from many natural sources. Its origin in China is of very
ancient date ; it is referred to as early as the seventh century B.c. by
Kwan Tsze, and it is probable that the tradition of the yellow dragon
that appeared to Fuh hi belongs to a still older period. It is, in fact,
like its cobra representative in Indian Buddhism, a possible relic of
an extinct serpent worship.
Its figure is essentially that of a snake idealized by the addition of
contributions drawn from various parts of the animal kingdom, and
in Chinese and Japanese story, as in Aryan legend, the names Serpent
and Dragon are sometimes interchangeable. Its early Buddhistic
representative in India appears to have been a serpent, for no dragon
is to be seen in the relics of Indian Buddhistic art, but its place is
filled in the Amravati sculptures by the Cobra de capello, in which
the Dragon King becomes the Naga Radja, and the fierce horned
head is replaced by a perfectly realistic portraiture of the vicious
face and expanded hood of the venomous reptile.
As to the origin of the relation of the Cobra to Indian Buddhism,

* Toyotama, according to the Kojiki, assumed the form of a Wani, or marine

animal (crocodile ?), eight fathoms long; but elsewhere she is described as under-
going transformation into a dragon, a view which is invariably adopted by pictorial
artists. See notes to Chamberlain’s translation of the Kojiki.—Trans. Asiatic
Society of Japan, 1883,
 BUDDHIST SCHOOL. 51

there appears to be little doubt that the Cobra Kings represented a

once hostile Scythic race of serpent worshippers which first invaded
India in the seventh century B.c., and that a subsequent alliance
with portions of the foreign tribes gave rise to the stories of
converted Nagas, and Nagas who defended the faith. When the
religion made its way into China, where the hooded snake was un-
known, the emblems shown in the Indian pictures and graven images
lost their force of suggestion, and hence became replaced by a
mythical but more familiar symbol of power. The multiplication
of the cobra head seen in the Amravati topes becomes lost in Chinese
Buddhism, but perhaps may be traced in the seven-headed dragons
and serpents of Japanese legend.
The identity of the Dragon and Serpent is often illustrated in
Japanese art. Creatures of transitional form, with dragon head but
destitute of legs, are figured and described in the Sézan Chomon Ki-
shin (a book of marvels published in 1848). The Dragon of Mount
Fuji is sometimes replaced by a huge serpent (No. 957), and the
reality and myth are interchangeable as attributes of the Benten of
Enoshima, or as representatives of the goddess herself (see p. 42).
In the earlier Japanese art the Dragon appeared chiefly in the
decorations of Buddhist temples, as a religious symbol, with the gem
of omnipotence in its grasp, but more recently its ornamental
capabilities have been largely utilized for decorative purposes without
reference to its original significance. It is unquestionably suscep-
tible of a far, more impressive and graceful treatment than its
clumsy European brother, and might teach us a valuable lesson in
the science of the grotesque.

The Tiger (Ch. Hu ; Jap. Ko or Tora) is often classed with the

Phoenix, Tortoise, and Dragon in the group of the Four Supernatural
Animals.* It is described as the King of Beasts, the greatest of all
four-footed creatures, and the representative of the masculine or
active principle of nature. It attains the age of one thousand years,
and after passing the half of this term its hair becomes white.
The name Peh Hu, or White Tiger, is given to the Western quad-

* The Four Supernatural Animals, according to the Li Ki, one of the Five Chinese
Classics, are the Féng (Phoenix), the Kwei (Tortoise), the Lung (Dragon), and
the Lin (“ Unicorn ”).—N. See notes to Nos. 867, 625, and 702,
E 2
52 JAPANESE PICTORIAL ART.

rant of the Uranoscope and, metaphorically, to the West in general

(Mayers).
The Tiger is one of the commonest Buddhist symbols, and probably
made its first appearance in Chinese art in that capacity. In
Japanese and Chinese Butsu-yé it is seen in association with the
dragon, apparently as an emblem of the power of the faith, and is
then usually represented crouching by the side of a clump of bam-
boo grass in the midst of a storm (‘U-chit no Tora’). It is also the
attribute of the Arhat Bhadra, the companion of the Taoist Rishis
Ki Ling-jin, the steed of Ts’ai Lwan or Wén Siao, one of the four
sleepers (with Han Shan, Shih-te, and Féng Kan), and in later
legends the victim of the prowess of various Japanese heroes.
The animal is sometimes regarded as a type of Wisdom, and its
readiness of resource is illustrated in a story, probably of Chinese
origin, that will be recognized as having an analogue in European
folk-lore. “A tigress was desirous of conveying her three cubs
across a river. _Now one of these cubs was of a vicious disposition
and could only be deterred from killing its brethren by the presence
of the mother. The tigress being unable to carry more than one at
a time, was obliged to devise a plan to prevent the evil-minded cub
from working mischief, and effected her purpose thus. She first
swam across with the wicked cub, and leaving it upon the further
bank returned for one of her two harmless offspring. On reaching her
destination with this second burden she put it down, and immediately
taking up the wicked one conveyed him back to the starting point
to change him for the third cub, who was in turn carried over.
Finally a last journey was made to bring the vicious cub, who had
thus been deprived of all opportunity of doing ill.” (See E-hon
Koji Dan.)
Its representations in Sinico-Japanese art are, with rare excep-
tions, very conventional, even in the hands of masters like Chao Tan-
lin and Ganku, who haye won a reputation by their pictures of
the animal, They are however less remote from nature than the
portraits of the Lion.
 BUDDHIST SCHOOL. Dax

RISHIS.

The Rishi (Ch. Sien nung; Jap. Sennin, Ukiaku, or Yamahito)

are evolutions of philosophy and superstition, who play no small part
in the mystic scenes of Buddhism and Taoism. According to Nagar-
djuna, as quoted by Hitel, they are beings who “enjoy rest (4.6.
exemption from transmigration) in the solitude of mountains for a
hundred thousand years, after the lapse of which time they again
enter the circle of transmigration.”
In the Wa-kan San-zai dzu-yé it is said that a person who reaches
a great age and does not die is called a Sennin, or man of the
mountains, because such favoured ones usually retired to mountain
solitudes to practise austerity and contemplation. ‘ He who desires
to know the Truth must have a pure spirit, and must surrender
carnal affections, and when he has attained the art of the Sennin,
he must still maintain a watch over his thoughts and actions lest the
power should depart.”
They are variously classified, but the grouping which accords best
with references in Sinico-Japanese literature is that given by Hitel
in his ‘ Handbook of Chinese Buddhism ’ :一
1. Déva Rishis, who are believed to reside in the Seven Cireular
Rocks which surround Mount Méru.
2. Spirit Rishis, who roam about in the air.
3. Human Rishis, or recluses who have obtained the charm of
immortality. .
4, Earth Rishis, who live in subterranean caves.
5. Préta Rishis, who either roam about unseen, or live on islands,
in deserts, or in caverns.
Of these five’ classes the third is the most familiar to students of
Chinese and Japanese religious and legendary art, and appears to
include three of the five groups recognised by Taoist mythology (see
Mayers), namely:
Genii of human kind, men who have succeeded in freeing them-
selves from perturbation of spirit. and the infirmities of the flesh.
Genii upon earth, human beings who have attained to immortality
in the existing world.
Deified Genii, immortalized spirits who have bidden farewell to
54 JAPANESE PICTORIAL ART.

earth, and have departed to roam among the three Islands of the
Blest.
The Sennin of the Japanese artist are nearly all Taoist or Tao-
Buddhistic myths, of Chinese invention; but some may be traced to
Indian sources, and a few are of native origin. The originals of the
greater number may be found in a Chinese work with rough woodcut
illustrations, reprinted in Japan in 1651, under the title of Ressen
zen den (Lieh-sien chuen chuen). Many of the portraitures there
shown are ofa kind to arouse strong curiosity. They lead us to expect
a feast of those strange stories in which we suppose the Oriental
imagination so fertile, legends that are to waft our fancy into mysteri-
ous regions, and permit glimpses of marvels far beyond the dreams of
our prosaic philosophy ; but when we turn to the pages that should
gratify our anticipations, we are greeted by little but disjointed frag-
ments of poorly-conceived extravagance, that would scarcely satisfy
the fable-yearnings of a child. They are for the most part bald
narrations concerning uninteresting personages, who by instruction
or elixirs attained the so-called immortality, together with various
miraculous powers that were often destined to be applied to ends
almost as trivial as those of the spirit manifestations in a modern
séance. In some of the stories there is indeed a trace of ingenuity
and purpose, as in that of T’ieh Kw’ai, whose spiritual essence could
be set free at will to wander unencumbered in the realms of space,
but lost its material frame during a too protracted separation of
“Tame et la béte” ; that of Kumé no Sennin, who, while enjoying the
Rishi’s privilege of soaring through the air, imbibed gross particles
of fleshly desire into his etherealized frame by incautiously gazing
upon the charms of a fair damsel, mirrored in a stream below, and
so, becoming subject again to the laws of gravitation, fell heavily to
earth ; and that of Taiydshi (Ta Yang Tsz’), whose habits of intem-
perance shortened his days to the mere span of five brief centuries,
and brought the snows of age upon his head before his face had lost
its supernatural juvenility. A few other instances might be added,
but they form only a small proportion to the mass of mere nursery
legend.
An eliair vitx, often referred to obscurely as a pill or medicine, is
supposed to have the power of transforming those who partake of it
into Sennins, and certain magic sentences or charms appear to possess
the same faculty. As arule, the exact nature of the wonder-working
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medium is left to the imagination, but in the Wa-kan san-zai dzu-yé,

vol. vii., a prescription used by the Rishi Wang Tsze Kiao (quoted
from a work named Gioku-kan-ho) is formulated with a precision
that leaves nothing to be desired, save efficacy. It runs thus: “ Take
the young shoots of the chrysanthemum in the third month, the
leaves in the sixth month, the flowers in the ninth month, and the
stem and root in the twelfth month. Dry these several parts in the
shade during a hundred days, then take equal portions of each, and
let them be pulverized on the day of the Dog. One momme (58°33
grains Troy) of the mixture must be taken daily, mingled with wine,
or made into a pill with honey. A dose should be taken at three
several times in the day, and on each occasion in seven divided quan-
tities. Then at the end of a hundred days the body will lose part of
its specific gravity ; after a year, hair that has become white with
age will deepen again to black ; in two years, teeth that have fallen
out will be replaced by a new growth; and when five years have
expired, an old man of eighty years of age will be rejuvenated to a
second boyhood.”

Of the many scores of Rishi portraitures met with in Japanese

and Chinese books and drawings, the following may be alluded to
as the most familiar and recognisable :一
The Eight Rishi of the Taoists.
1. Shoriken (Ch.: Chung-li K’iian).* Represented either as
a martial figure with a sword, or as a fat man, with bare
abdomen, holding a fan or fly-brush. In the latter form he is
not unlike Hotei. (See No. 1252.)
2. Chékward or Tsugen (Chung Ko Laou). <A sage conjuring a
horse or mule out of a gourd, or holding an instrument of
music. (See No. 1460.)
3. Ridtohin (Li Tung-pin, or Lu Yen). A personage of martial
aspect, armed with a sword.
4. Sdkokukiu (Ts’ao Kwoh-kiu). <A military official, holding a
pair of castanets.
5. Tekkai (T’ieh Kwai). (See No. 1848.) A lame and ragged
beggar exhaling his spiritual essence in the form of a shadowy
miniature of his corporeal form. The spirit is sometimes .
* Tn this list the Japanese name precedes the Chinese.
56 JAPANESE PICTORIAL ART.

represented riding away upon the mule that has escaped from
Chokwar6’s gourd.
6. Kanshéshi (Han Siang Tsz’). A sage playing upon a flute, or
floating upon a portion of the hollow trunk of a tree.
7. Ransaikwa (Lan Ts’ai-ho). A female or aged man partly clad
in leaves, carrying a flower-basket.
8. Kasenko (Ho Sien-ku). A young female clothed with a
mantle of mugwort leaves and holding a lotus-flower.

These personages are described in Mayers’ ‘Chinese Reader's

Manual,’ the Ressen Zen Den, and Franks’ ‘ Catalogue of Oriental
Pottery and Porcelain.’ The category, which is said to date not
earlier than the Yiien dynasty (1206-1368), is rarely seen in its
entirety in Japanese works of art, and its constitution often varies
considerably even in Chinese pictures.
Réshi (Lao-Tsze), An old man with short body and lofty head,
bearing in many cases an extremely close resemblance to Fukuro-
kujiu. He is usually represented riding upon an ox, (Ressen Zen:
Den, vol. i. See No. 641.)
Seidbo, or Kitaikimbo (Si Wang Mu). A female, richly dressed,
with a royal tiara—usually represented standing upon a cloud,
with two female attendants, one of whom holds a dish of peaches,
the other a processional or ceremonial fan. (R.Z.D., vol. i. See
No: 705.) ™
Seidbo no Shiji, or Taishin O Fujin (Tai Chén Wang Fujén).
The sister or attendant of Si Wang Mu. A female holding an instru-
ment of music with a single chord, and accompanied by or riding
upon a white dragon. (R.Z. D., vol. i. See No. 2488.) She is some-
times associated with a companion, Jogen Fujin (Shang Yiien Fujén),
who is riding upon a Kirin.
Gama Sennin, or Kosensei (How Sien-séng). A meanly dressed
man with flat, ugly features, in companionship with a large white
three-legged toad or frog, which may be represented in the act of
exhaling a rainbow or mirage. (R.Z.D., vol. vii. See No. 703.)
Chinnan (Ch’én Nan). A wild-looking man in beggarly attire,
evoking a dragon from a vessel of water, or sailing across a river
supported by a large hat. He is often classified as one of the Hight
Sennin. (R.Z.D., vol. viii. See No. 745.)
Kinké (Kin Kao). A sage riding upon a carp which is just leap-
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ing from the water, or standing upon a pair of the fishes. (R. Z. D.,
vol. i. See No. 794.)
Shiyei (Tsz Ying). Aman riding upon a winged and horned
carp. (R. Z.D., vol. iii.)
Ritjo (Liu Nii). A female riding upon a wild goose. (RK. Z. D.,
vol. vii.)
Oshikid (Wang Tsz’ Kiao). A sage riding upon a white crane.
Sometimes represented playing upon an instrument of music called
the Sho. (BR. Z. D., vol. i. See No. 1458.)
Baifuku (Mei Fuh). A sage riding upon a phoenix. (R. Z. D.,
vol. iii, See No. 1562.)
Koan (Hwang Ngan), A nude or semi-nude man seated upon
the back of a large tortoise. (R. Z. D., vol. ii.) A similar figure is
represented in the Hokusai Mangwa and elsewhere under the name
of Roko (Li Ngao), the animal being sometimes provided with the
fringed tail of the Sacred Tortoise of P’éng Lai.
Kohaku (Hwang Péh). A sage riding upon a yellow stork.
Koreijin (Ki Ling-jin). A sage in companionship with a white
tiger. (See No. 1557.)
Bukan Zenji (Féng Kan). <A priest riding upon or sleeping
beside a tiger.
- Kanzan (Han Shan). An ill-clad boyish figure holding a roll,
usually in laughing conversation with his companion Jitoku.
Jitoku (Shih-te). A boyish figure holding a besom. He and the
last are sometimes represented with Bukan and his tiger as the
“Four Sleepers.” (See No. 606.)
Choshikwa (Chang Chih-ho). <A sage travelling upon the water
supported by a mat, and watching the approach of a stork. He is
occasionally represented as one of the Eight Sennin. (R. Z. D.,
vol. vi.)
Jido, or Kiku Jido (Keuh Tsz’tung). <A boy seated beside a stream,
writing upon chrysanthemum leaves and throwing them into the
water. (See No. 1568.)
Koshohei (Hwang Ch’u p’ing). A sage touching stones with a
wand to convert them into sheep for the edification of his brother.
(R. Z. D., vol. ii. See No. 66, Chinese.)
Mojo (Mao Ni). A wild-looking female, covered with hair,
carrying a basket and branches of pine or of the peach-tree of
immortality. (RK. Z.D., vol. 11. See No. 1271.)
58 JAPANESE PICTORIAL ART.

Tobosaku (Tung Fang-so). A merry old man holding a large

peach in his arms. Sometimes represented riding upon a stag.
(Hokusai Mangwa. R.Z.D., vol. ii. See No. 615.)
Bom5 (Mao Méng). A sage standing upon the head of a dragon.
(R. Z. D., vol. ii.)
Bushishi (Wu Chi Tsz’). A sage ascending in the air upon an
open scroll. (R. Z. D., vol. viii. See No. 2381.)
Chochiuka (Chang Kiu-ko), A man cutting fragments off his
garments, the pieces becoming converted into butterflies. (R. Z. D.,
vol. vii. See No. 1559.)
Hichobo, or Koko (Fei Chang-fang, or Hu Kung). An old
man whose body is concealed in a pot or gourd-shaped vessel.
(R. Z. D., vol. iv.) The first name is sometimes assigned to a dis-
ciple. (See Mayers.)
Gomé (Wu Méng). A sage crossing a stream upon a feather-fan,
or riding through the air in a car drawn by stags. (R. Z. D.,
vol. iv.)
Shachiusho (Seay Chung-chu). A sage supported upon the
waves by a branch of bamboo(?). This personage must not be mis-
taken for Daruma (Bédhidharma), the Buddhist priest, who is often
represented crossing the ocean to Japan upon a reed.
Katsugen (Kwoh Yien). A man of martial aspect borne upon the
water by a sword, (R. Z. D., vol. iv.)
Resshi (Lih Tsz’). A sage moving through the air in the midst of
a rain shower. (KR. Z. D., vol. 1.)
Akusen (Wu Ts’uen). A wild-looking man with leaf dress,
eating fir-cones. (R.Z. D., vol. i.)
Kumé no Sennin (a Japanese rishi). A sage falling from the
clouds while looking at the reflection of a girl who is standing in a
stream.
Shinretsu and Bunsho (Ts’ai Lwan and Wén Siao). Man and
woman riding upon tigers (Mayers).
Jogen Fujin (Shang Yien Fujén). A woman riding upon a
Kirin (Ki Lin), (R.Z. D., vol. i.)
Hos6 (P’éng Tsung). A sage reclining upon the waves. (R. Z. D.,
vol, i.)
Bashiké (Ma She-hwang). ;A physician performing acupuncture
upon a sick dragon, or flying to the clouds upon the dragon’s back.
(R. Z. D., vol. i. See No. 2638.)
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Katsuyu (Koh Yiu). <A wild-looking man riding upon a goat.

(R. Z. D., vol. i.)
Hosho (Shih Chéng). A sage with flaming eyes. (R.Z.D.
vol. ii.) .
Chodorio (Chang Tao-ling). A martial figure standing upon
acloud. (R.Z. D., vol. iii.)
Mako (Ma Ku). A beautiful girl in converse with her brother
Oyen (Wang Yiien) and Saikio (Isai King), the Minister of the
Sung Emperor Hwei Tsung. (R. Z. D., vol. iii. Mayers.)
Osho (Wang-chu). A sage seated upon the ground watching the
descent from the skies of an open umbrella to which a roll is attached.
In the Soshe gwa den he is seen riding to heaven upon the umbrella.
Sonto (Sun Téng). A sage seated upon the rocks playing upon a
one-stringed lute. (R. Z. D., vol. iv.)
Rihaku, or Ritaihaku (Li Peh). A sage, represented under three
different circumstances—gazing in poetic fervour at the cascade of
the Li Mountains; sinking in the collapse of inebriation; or riding
heavenwards upon a dragon. (R. Z.D., vol. vi. See No. 1556.)
Rashibo (Lo T'sz’fang). A woman in a boat borne through the
air upon clouds. (KR. Z. D., vol. vi.)
Kakudaitsi (Hoh Ta-t’ung). An old man seated in the midst of
a group of children who have piled a pyramid of stones upon his
head. (R. Z. D.)
Shoshi (Hsiao She). A man riding upon a pheenix, playing upon
a reed instrument resembling the pandean pipes. (Ressen Dzu San.)
Saji (Tsao Tsze). A man hooking a fish. (Resse Dzu San, and
Mayers, No. 745.) A similar figure appears in the Hokusai Man-
gwa, under the name of Kenshi.
Ranha (Lwan-pa). A sage spirting water from his mouth.
(R. Z. D.)
Rogioku (Lao-yii.) A woman, richly attired, borne through the
air by a phoenix. (See No. 658.)

DEMONS.

The orthodox Sinico-Japanese demon (Oni) is, to the adult mind,

more amusing than terrible in the elaborate ugliness with which
popular conception has endowed him. A brawny-limbed creature,
60 JAPANESE PICTORIAL ART.

rejoicing ina complexion of a bright red, green, or bluish tint in place

of the proverbially dusky hue appropriate to his Western relative—
with fingers and toes armed with sharp claws, and reduced in number
to three, or, in the case of the lower limb, sometimes to two in each
member; a short, square head, whose scowling brows are crowned
with a brutal receding forehead and a pair of horny protuberances ;
and a gaping mouth, furnished with a set of wolfish fangs—he is a
mere Oriental Caliban, without a touch of the refinement and intel-
lect of the Miltonic spirit of evil. His literary history, too, shows
him to be a thoroughly contemptible monster, amenable as he is to
the discipline of every hedge-priest, and to physical chastisement
from any determined mortal who has the courage to join issue.
Like the Fox and the Tanuki (see Nos. 1803 and 2276), his chief force
lies in his power of assuming various shapes at will, and knowing
the weakness of men, he affects, by preference, the sentimental
beauty and trustful grace of the distressed damsel of medieval
romance. It was in this form that a devil sought to beguile Wata-
nabé no Tsuna, but lost an arm in the enterprise; and another, that
induced Hikoshichi to bear him upon his back, till the diabolical
lineaments were betrayed by their reflection in the truth-telling
mirror of the stream, also appealed to the chivalry of the noble
as a fair lady craving knightly aid. The demon Shiuten Doji
chose the garb and aspect of a gigantic Chinese boy, but resumed
his fiendish guise in sleep; and the Spider-Devil slain by Raiko
appeared in various. characters before his white blood was spilt by
the hero’s blade. (See Nos. 285 and 383.)
The demon is usually regarded as appertaining to an order of
beings wholly distinct at all times from the human race, but it is
recognised that a human being may become metamorphosed into a
devil during life by force of evil passions. Such was the case
with the noble damsel in the reign of the Emperor Saga (810-
823 a.v.), who, urged by a fury of jealousy, underwent voluntary
conversion into a demon; and Kiyo Himé, whose sacrilegious lust
changed her into a fiery dragon-fiend, in which form the heat of her
coils cremated the priestly object of her desires in his last refuge
under the dome of the temple bell.
In domestic folk-lore the demon is an embodiment of evil that
finds its antitypes in the Gods of Good Fortune, and may be put to
flight by the New Year's Adjuration of the Onyarai. They are
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subject to the pains of the flesh when pelted by the beans of the
household exorcist,.and are even liable to parental instincts, if we
may judge by the representations which show them snatching up
their little ones in their hasty flight from the dreaded missiles.
In Chinese folk-lore the demons mostly appear under the domina-
tion of the formidable Chung Kwei (the Japanese Shoki, see No. 687),
before whom they crouch, mean and puny, but cunning enough to
give their implacable foe many an ingenious slip.
In religious writings they hold a different place, and may be
dignified with official rank in the realms of King Yama, or even
become subservient to pious ends as retainers of holy men, like
Hiouen Thsang and En no Shékaku. They are rarely, however,
brought upon the scene as tempters of men.
Lastly, beings which have no especially diabolic functions are
sometimes clothed with demon form, as the Rain, Thunder, and
Wind gods.
A fairly complete repertory of the evil spirits depicted by Chinese
and Japanese artists will be found in Nos. 274 and 2038.

SAKYAMUNIL
S’akyamuni, the historical Buddha, is venerated throughout China
and Japan as the founder of the Buddhist faith, but shares the
honours of worship, at some disadvantage, with Amitabha, one of
the thousand fictitious Buddhas invented by the Mahayana school
at the beginning of the fourth century of our era.
The Japanese accounts of S’akyamuni (Shaka) correspond closely
with that given by Hitel in the ‘Handbook of Chinese Buddhism,’
and adopt, together with the erroneous Chinese chronology, all the
feebly extravagant fables with which priestly invention has filled
the gaps in his biography. All that is known or asserted respecting
his life and work will be found in the writings of Oldenberg, Eitel,
Hardy, Beale, Edkins, Satow,* and others; hence it will only be
necessary to enumerate his principal representations in Japanese
images, pictorial and otherwise.
1, Tanj5 no Shaka. The Birth of Sakyamuni. A figure of a
* See Satow and Hawes’ ‘ Handbook for Japan,’ 2nd edition.
62 JAPANESE PICTORIAL ART.

child standing erect upon a lotus thalamus and pointing to heaven.

The text placed against the figure in the B 20 dzu-t runs as
follows: ‘His father was King Jobon (S’uddhodhana) of Kabira-
koku (the country of Kapila), in Mid-India, and his mother was
named Maya Fujin (the Lady Maya). He was born at the hour of
the Tiger, on the eighth day of the fourth month; and after his
appearance he pointed above and earthwards, crying, ‘I the only
most exalted one.’ ”
2. His baptism by the nine Dragon Kings. (See No. 834.)
3. Shussan no Shaka (Shaka returning from the mountain). <A
man with beard and shaven head, attired in flowing garments
which are agitated by the winds, holding his hands in a position df
prayer. His ear-lobes are enlarged, his head is encircled by a
nimbus, and his brow bears the wirna (a light-giving circle of ie
the mark of a Buddha or Bodhisattva). (See No. 1206.)
“On the bana day of the second month, of the nineteenth year
of his age” (the Oriental recorder is nothing if not precise in his
fictions of time and numbers), “he departed from the palace and
went to the Mount Dandoku (Dantalokagiri). During twelve years
he practised asceticism, and when he had reached his thirtieth year,
on the eighth day of the twelfth month, of the thirty-third year
of the Emperor Shé O (Chao Wang: 1020 3.c.), he attained to the
most intimate secrets of Buddhism, in the country of Makatsuda”
(Magadhad).
4, Shogaku no Shaka (The All-wise S’akya). A Buddha seated
upon a lotus thalamus resting his left hand upon his knees, with the
back downwards, and holding up the right hand, with the palm
directed forwards. The hair is represented by a blue mass resembling
short, close curls of uniform size, and a jewel is placed about midway
between the crown and the forehead. The érna and himbus are always
present. In this form he is also shown in the Amravati remains,
The text of the Butsu-zd dzu-i states as the length of time during
which he preached the faith, 52 years, 22 days and a night, of which
period the Nirvana represented one day and one night. (See No. 25.)
5. Néhan no Shaka. The Nirvana of S’akyamuni. The Buddha
lying upon a raised bench, resting on his right side, with closed
eyes, his head pillowed upon a lotus. The nimbus is usually
omitted. (See Nos. 7 and 8.)
‘On the fifteenth midnight of the second month of the eightieth
 BUDDHIST SCHOOL. 63

year of his age he died in the grove of Sara (Sala) trees, near the
river Batteiga (Hiranyavati, by the city of Kus’inagara), at the
period corresponding to the 36th year of the reign of Boku O (Muh
Wang: 966 3.c.), of the Shiu (Chow) dynasty of China.” (Butsu 26
dzu-t.)
6. Shaka Niorai—Shaka the Healer. In the same form as the
Shogaku no Shaka. He is here introduced amongst the Sanjiu-nichi
ha-butsu, or Guardians of the Thirty Days, as presiding over the
thirtieth day of the month; and again in the same form as one of
the Thirteen Buddhas (Jiusan Butsu).
7. In the S’akyamuni Trinity. He is here seen as a Buddha, erect
or seated between his spiritual sons, the Bodhisattvas Mandjus’ri
and Samantabhadra. (See No. 88.)
8. Beholding the Four Visions, of the old man, the sick man, the
corpse, and the ascetic.
9. His temptation by the siren daughters of the evil spirit Mara,
and the assault by the demon army. These last are more rarely
subjects for illustration.
It is to be noted that in Japan the figure of the Buddha is never
represented by the feet or pedestal alone, asin the Amravati remains
and many other Indian art-relics.

AMITABHA.
Amitibha (Jap. Amida), the most popular Buddha, both in China
and Japan, is one of the inventions of the Mahayana school, and
dates from about 300 a.p. His worship is not referred to by Fahien
or Hiouen Thsang, nor is it known to Southern Buddhism; and it
is only since the beginning of the fifth century that he has been
placed in the foreground in China by Kumarayapa, who came to
the Middle Kingdom by way of Tibet in 405 A.D. (Hitel). He is
supposed to preside with Kwanyin over the Paradise in the West,
where the good may enjoy long ages of rest, but without interruption
to the circle of transmigrations.
Amitabha is usually represented in association with his spiritual
sons, Avalokités’vara and Mahasthima-prapta, but, in addition, he
appears in the Nine phases of Amida (Kubon no Mida), in which
different positions of the hands and fingers are supposed to express
64 JAPANESE PICTORIAL ART.

mystic distinctions (see Butsu 26 dzu-d) ; as the Guardian of the ninth

day of the month; as the Saviour of the pious man who escapes
the Perils of Wickedness by crossing the silver Bridge of Faith
(see No. 54); as one of the Thirteen Buddhas (see No. 25); as a
Sun god (see No. 6); and as a principal figure in most of the
Mandaras (see Nos. 59, 60, 63, and 116). According to a Japanese
legend, Amida mingled his divine essence with the race of the
Mikados by assuming the form of a concubine of the heir to the
throne (afterwards Yémei Tenn6), and while incarnate became the
mother of Shotoku Taishi (see No. 254).

KWANYIN.

Kwanyin (Jap. Kwan-non), a Bodhisattva, almost outrivals

Amitabha as a popular divinity in Japan. Identified as Avalokités’-
vara (the down-looking Sovereign), the spiritual son of Amitabha,
the divinity nevertheless appears in Chinese and Japanese images
as a female, an incongruity which is probably explained by the
theories advanced by the Chinese—that Kwanyin is of native origin,
and was originally the daughter of a King of the Chow dynasty
(696 3.c.), a date preceding the introduction of Buddhism from
India. It is told that she was sentenced to death by her father for
refusing to marry, but the executioner’s sword broke without
harming her. Her spirit went to Hell, but Hell changed to Paradise,
and the King of the Infernal Regions, to preserve the proprieties of
his realm, sent her back to life, when she was miraculously trans-
ported on a lotus flower to the Island of Pootoo. (See Hitel’s ‘ Manual
of Chinese Buddhism,’ where the question is fully discussed.)
The chief representations of Kwanyin in Japanese Buddhist art
are as follows :一
1. The Thousand-handed Kwanyin (Sen-jiu Kwan-non). (See
No. 56.)
2. The Eleven-faced Kwanyin (Jiu-ichi-men Kwan-non). (See
No. 55.
3. x one of the two spiritual sons of Amitabha, the other being
Mahasthima-prapta. (See No. 4.) Kwanyin, as the Goddess of
Mercy, is believed to share with Amitabha the dominion of the
Paradise in the West.
 PLATE 12:

KICHIJO TEN. (Page 45.) BISHAMON TEN. (Page 39.)

rout
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ANOKU KWANNON. (Page 64.) SEN-JIU KWANNON. (Page 64.)

From the Butsu 20 azu-t.

 BUDDHIST SCHOOL. 65

4. As one of the Seventy-five Bédhisattvas (Butsw 26 dzu-i, vol. i.).

5. The horse-headed Kwanyin (Ba-t6 Kwan-non), one of the
‘Seven Kwanyins’ of the Butsu zo dzu-i. The other important
members of the group are the Thousand-handed and the Eleven-
faced Kwanyins.
6. As one of the Thirteen Bédhisattva to be prayed to for delivery
of the spirit of the dead from Hades. Kwanyin is to be addressed
on the hundredth day after the decease.
7. The Thirty-three manifestations of Kwanyin (see Butsu 26
dzu-i, and No. 59). The forms most commonly selected for separate
representation are the Riu-dzu or Dragon Kwan-non (Chinese,
No. 57), the Sei-dzu Kwan-non (No. 1287), the Anoku Kwan-non
(No. 1291), and the Gioran Kwan-non. The form and attire in all
of these are undoubtedly feminine.
8. Kwanyin the Maternal. The goddess holding a child in her
arms. This form is not alluded to in the Butsu 26 dzu-i, and is very
rarely met with in Japanese Buddhist art works. Images are how-
ever not uncommon in China, and have sometimes been mistaken by
foreigners for representations of the “ Virgin and Child.”
66 JAPANESE PICTORIAL ART.

BUDDHIST SCHOOL.
一 中 一

1 and 2. A pair of Kakémonos (or hanging pictures), on silk,

painted in colours. Size, 423 x 193.
Rakan (Sansk. ARHAT 一 ARHAN).
1. A priestly figure holding a Buddhist Nio-i. The ear lobes are
enlarged, but the nimbus, an almost constant attribute of the Arhat
in Japanese pictures, is omitted. An Apsara kneels before him
with an offering of peaches and a flowering branch of the Peach-
Tree of Longevity.
2. A venerable man with enormously elongated eyebrows, the
head surrounded by a colourless transparent nimbus. He is seated
beneath a Sala tree and by his side crouches a tiger.
This picture represents the Arhat Bhadra, but the companion
figure has not been identified.
Attributed to OHO DENSU (Met-cud). No signature or
seal, Early part of fifteenth century.
The Nio-i (Chinese, Ju-7) is a short curved wand commonly terminating
in a kind of trefoil at the extremity opposite to the handle. It is probably
symbolical of the power of the Faith. In Japan it is used chiefly by the
Zen sect.

Kakémono, on silk, painted in colours. Size, 874 x 15}.

Rakan (Subhaka ?). .
A figure having the attributes of an Arhat. A lion of very
conventional type stands by his side.
Painted by CHO Densv. Seal. Certificate. Fifteenth
century.

Kakémono, on paper, painted in colours. Size, 524 x 23.

The Amida Trinity.
This picture has the peculiarity that the outlines of the three
figures of Amitibha, Avalékités’vara, and Mahaisthimapripta are
formed by minutely written characters transcribing the Sftras
known in Japan as the Sambu Kid and Amida Kid. The first of
these compositions is repeated thrice, the second twenty-five times.
 BUDDHIST SCHOOL. 67

The tints between the outlines are also covered with Chinese
characters.

“Carefully written and drawn by En-srn-sai, at the age of

sixty-three, at Shirakané, on the banks of the Tamagawa,
in Eastern Musashi.” Signed. Seal. Eighteenth century.
The Sambu Kid, a set of three Sitras, of which the Amida Kio is one,
form the basis of the doctrines of the Shin sect. (See Introductory Section
on Religions in Satow and Hawes’ ‘ Handbook for Japan.’)

5. Kakémono, on silk, painted in colours. Size, 36 x 163.

Amida (Sansk. AMITAPHA).
Painted by the chief priest of the temple of Zd-jo-ji.
Signed, Zd-sd-sr Dar-Sd-sd. Early part of nineteenth
century.
Chinese Buddhists recognise nine forms of Amit&bha, each characterised
by a peculiar position of the hands and fingers. The form here represented
is distinguished as Jo-bon Jo-sho (“the first form, first birth.” See Butsu
20 dzu-t, vol. i.). The hands rest upon the knees, palms upwards, and the
fingers bent in such a manner that the backs of the two last joints of the
one hand are in contact with the corresponding parts of the opposite hand.
The special significance of these manual signs is explained in a Siitra
known in Japan as the Kwan-gio.

6. Kakémono, on silk, painted in colours. Size, 393 x 21}.

Yama-goshi no Niorai. Amitabha rising above the
mountains,
The head of the Buddha, radiating golden beams, rises like a sun
above the heights of Mount Yokokawa. The landscape is con-
ventionally treated and outlined with gold.
The original picture, which still remains at the Monastery of
Yéshin-in, in Yokokawa, is said to have been painted by the monk
Gun-surn, or 卫 -sHIN Sopzu (d. 1017 a.p.), to whom the vision had
been manifested. (See Butsu 26 dzu-i, vol. i.)
Painted by H6-rrsu (see Kérin School). Seal. Nineteenth
century.

7. Kakémono, on silk, painted in colours. Size, 92 x 92.

The Nirvana of S’Akyamuni.
This picture, of which there are innumerable repetitions in
Japan, shows S’ékyamuni immediately after his entrance into the
state of Nirvdna, surrounded by his disciples and the principal
representatives of the Buddhist Pantheon. S’akyamuni, lying upon
his left side, has assumed the golden tint of Buddhaship, while the
F 2
68 JAPANESE PICTORIAL ART.

Divinities and Arhats join in demonstrations of grief at the loss

to the world of the active influence of the Great Teacher. Some
weep silently; Ananda, the cousin of S’akya, has fainted; the
Temple Guardians (Ni O) Brahma and Indra have cast themselves
to the earth in uncontrollable transports; one of the Army of the
Church vomits blood; even the inarticulate creation takes part in
the general expression of woe, and the elephant is seen rolling its
unwieldy bulk upon the ground in utter despair. The cat does
not appear amongst the four-footed mourners, and is popularly sup-
posed to have slain the rat that should have brought the medicine
for the cure of the disease that ended the worldly life of the Buddha.
A bag, believed to contain the healing drugs, is seen hanging from
the summit of a ringed staff that rests against one of the Sala trees,
under the shade of which the spirit has entered into Nirvana. In
the sky the mother of S’akyamuni, with attendant Dévi, looks down
upon the body of her son.
Artist unknown. Fifteenth century (?).
The earliest known representation of this subject is that of Wu Tao-
tsz’, painted in the eighth century a.p., and still in existence at the
Temple of Manjuji, in Kioto. The central portion of the composition
coincides almost exactly with the painting of Lt Luna-yEn (Chinese, No. 1)
and with the picture just described, but comprises, in addition, a delinea-
tion of various incidents closing the life of the Buddha. It is engraved in
the ‘ Pictorial Arts of Japan.’

8. Kakémono, on silk, painted in colours. Size, 36} x 154.

The Nirvana of S’akyamuni.
The details closely resemble those of the preceding picture.
Painted by To-Koxu Fusi-wara no Suun-n1d. Signed.
Seal. Nineteenth century.

9 to 20. A set of twelve Kakémonos, on silk, painted in colours.

Size, 304 x 143.
The Twelve Déva Kings (Jap. Jru-NIT Ten, or Jrv-nt 0).
1, Yemma Ten (Sansk. Yama). The King of Hell.
An effeminate figure with red complexion, holding a long staff
surmounted by a Bodhisattva head. The head of the Déva King
is enveloped by a flaming nimbus, an attribute common to the whole
group.

2. Gwar’ Ten (Sansk. Soma Dfiva, or Towanpra). The

Déva of the Moon. |
An effeminate figure, holding a lotus, upon which rests an image
of the moon.
 PLATE 138.

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 BUDDHIST SCHOOL. 69

3. Nrv’ Ten (Sansk. Sirya Dfiva). The Déva of the Sun.

An effeminate figure bearing an emblem of the sun, supported
upon a lotus. The sun is represented as a red disc, upon which
is drawn a crow.
In the Cosmic Philosophy of Hwar NAN-TSZE it is asserted that a bird
with three legs exists in the sun; but there appears to be no Buddhistic
legend associated with the belief, such as that which attaches to the
lunar hare.

4, Kwa TEN (Sansk. Aant Dfiva). The Fire Déva.

A figure of an aged man with four arms, holding a crystal
rosary, a golden flaming triangle (the Brahmanic emblem of fire), a
bamboo stem, and a golden water-vessel. His loins are enveloped
with a tiger-skin. The whole form is surrounded by an aureole of
flame.

5. Fa Ten (Sansk. Vasu Diva). The Déva of the Winds.

An aged figure in armour, bearing a spear, from which flies a red
flag. .
Vasu Diva is the ouly name under which Vicunu seems to be known
to Chinese Buddhists. (Hitel.)

6. Rasarsu Ten (Sansk. Narm’rrra). The King of the

Rakchasi.
A warlike figure armed with a vadjra-hilted sword.
The vadjra is not only represented in the form of a weapon, the sceptre
of Indra, as in No. 11, and as a priestly symbol of prayer, but ajpears
also in the hilt of the sacred sword and in the spokes of the tchakra.
In all cases it is probably emblematic of the conquering power of the
Faith. The various forms of the object are seen in the succecding
pictures.

7. Bisnamon Ten (Sansk. VAis’RAMANA).

A warrior in full armour, holding a spear in one hand and a
miniature pagoda in the other.
The image of Vais’ramana, the Brahmanic Kuvera, or God of Wealth,
with those of his brethren, is constantly found in the more important
Buddhistic temples of China and Japan. In the latter country he is
worshipped under the name of Bishamon, or Tamon ‘l’en, as one of the
Seven Gods of Good Fortune (see page 39).

8. Bon TEN (Sansk. Brand).

An effeminate figure with four heads and four hands; each head
possesses three eyes, and in the hands are grasped a spear, a lotus,
and a golden water-vessel.
70 JAPANESE PICTORIAL ART.

9. IsHana TEN (Sansk. S’rva, or Manfis’vara).

An effeminate figure of demoniacal aspect, with green complexion
and three eyes. Holds in one hand a form of the vadjra, in the
other a salver containing clots of blood.
In the Butsu 26 Dzu-i, Ishana is identified with Izanagi no Mikoto.

10. Jr Tew (Sansk. Prrr’tvz). The Earth Déva.

An effeminate figure holding a golden basket of peonies, symbol-
izing the produce of the earth.

11, Taisnaxu TEN (Sansk. Inpra, or SAKRA Dfiva).

An effeminate figure, grasping a kind of vadjra with a single
point at each extremity.

12. Sur Ten (Sansk. Varuna). The Déva of the Waters.

A demoniacal figure of green colour, with three eyes. The hair
is replaced by serpents. A serpent is grasped in the left hand, and
a vadjra-hilted sword in the right. The flames of the nimbus are
blue and green, instead of red.
Artist unknown. Eighteenth century.
21 to 23. A set of three Kakémonog, on silk, painted in colours.
Size 3842 x 11}.
The Three Sacred Relics.
1, The Sword (Jap. Hoken).
The hilt of the weapon is made up of symbolical objects; the
Vadjra, the Sacred Crystal, the Lotus, the Precious Gem, and nine
serpent rings; the blade is covered with figures of dragons.

2. The Crystal, or ball (Jap. Shinshi),

Represented by a large white sphere, in the centre of which is
seen a three-clawed dragon grasping a Sacred Gem. Below the
dise is a vadjra, with a demon-faced hilt.

3. The Mirror (Jap. Naishi Dokoro).

Drawn as a white disc supported upon a golden vadjra-tipped rod,
the lower extremity of which rests upon an inverted lotus flower.

Artist unknown. Eighteenth century.

These three objects are Buddhistic adaptations of the regalia presented
by the Sun goddess to her grandson Ninigi no Mikoto, the first (mythical)
Ruler of Japan.
The Sword was originally discovered in one of the tails of the seven-
headed serpent which Susand, Perseus-like, slew to deliver the fair
aan
 BUDDHIST SCHOOL. 71

Kushinada. It was afterwards used under the name of “ Herb queller”

by the hero Yamato-Daké, who bequeathed it to his Owari wife. It is
still preserved at the temple of Atsusa in that province.
The mirror kept at the Naiku in Isé is said to be that which was made
to entice the Sun goddess from the cavern into which she had retired in
dudgeon at the petulant rudeness of her brother Susand. The mirror often
displayed in front of Shintd temples is probably of Buddhist origin.
The third object in the Regalia was originally a necklace, or string of
beads, but all trace of this is lost. Its place is taken by a stone of three
or four inches in diameter, kept in the charge of a special officer, who
always accompanies the Mikado, (Satow.)
The Japanese make use of three names to denote gems of supernatural
power: Nio-i hd-jiu, Gioku or Tama, and, more rarely, Shinshi. The
first is the Mani, or Tchintd-mani, of the Buddhists, one of the Sapta
Ratna, or Seven Treasures, which is defined by Hitel’s ‘ Handbook of
Chinese Buddhism, as “a (fabulous) round pearl, said to keep always
clear and bright, and to shed a brilliant light upon all surrounding
objects.’ It is therefore a symbol of Buddha and his doctrines.” Accord-
ing to Monier Williams (‘Sansk.-Eng. Dictionary,’ p. 3825), it is “a
fabulous gem, supposed to yield its possessor all desires; a philosopher’s
stone.”
The Gioku or Tama corresponds to the Chinese Yii, the jade-stone,
which is regarded in China as the type of excellence and rarity, and
appears to be interchangeable with the Mani, as a representative of
ideal Buddhistic purity. As in the case of the latter, the word when
used by the Japanese has no scientific interpretation, and in Japanese-
Buddhist pictures is drawn as a rounded or top-shaped object, variable in
colouring, marked by circular or spiral contour lines, and unlike any
known mineral. Both names and pictures, in fact, are merely signs
expressing abstract ideas.
The Taoists regard the jade-stone from a more material aspect, and
describe various elixirs of life of which it forms the essential ingredient.
According to Mayers, the name “Beverage of Jade” was given in the
language of alchemy (Taoist) to the supreme elixir which combines the
virtues of the draught of immortality and the philosopher’s stone.
(‘ Chinese Reader’s Manual,’ p. 284.)
The word Shinshi, or Crystal, appears to be used with reference to the
Shintd conception of purity; suggested, perhaps, by the rock crystal
(Suishd), which the Japanese are in the habit of cutting into the form of
balls and other objects. A perfectly transparent crystal sphere sometimes
replaces the ‘‘ Precious Gem” in Buddhist pictures (as in No. 665), and in
wood carvings of Buddhist divinities.
The Precious Gem is a special attribute of K’shitegarbha and of the
Arhat Panthaka, and is associated with a large number of the Buddhist
divinities, as a symbol of the noble qualities of the faith. In Japanese
legend it appears as the tide-commanding talisman of Hiko-hoho-démo no
Mikoto and of the Empress Jingo; and in the story of Kamatari (see
p. 103) the Dragon-king steals a wonderful Mani sent by the daughter of
the hero as a gift from China. The “San-gioku no Kamé,” an emblem
of longevity, is a sacred tortoise that bears upon its back three of these
precious stones. Lastly, the gem is included amongst the Takara-mono,
a croup of objects collectively symbolical of prosperity.
72 JAPANESE PICTORIAL ART.
24. Kakémono, on silk, painted in colours. Size, 27} x 16}.
The Divinities of the Thirty Days (Jap. SAN-JIU-BAN Jin).
A Japanese Saints’ Calendar, framed early in the ninth century by
Jikaku Daishi, in commemoration of the guardianship of the thirty deities
who watched over him in turn day by day during his study of the Sfitra
called Nio-ho gid. He registered the names of the divinities against the
days of the month in which they appeared, and from that time they have
been regarded as the special protectors of the Tendai sect.
Ina corresponding, but probably much earlier calendar, the names of the
Japanese gods of Jikaku are replaced by various Buddhas and Bédhi-
sattvas. . A full list of both groups, with illustrations, may be found in the
Butsu-z6 Dzu-i, vol. ii., and in Siebold’s Nippon.
Artist unknown, Eighteenth century.
25. Kakémono, on silk, painted in colours. Size, 383 x 153.
The Thirteen Buddhas (Jap. JIU-SAN Bursv).
The figures depicted are arranged as follows :—
Akas’agar’bha.
Amitabha. Akchobhya. Vairdtchana.
Mahasthimaprapta. Avaldkités’vara. Bhaichadjya Guru.
Maitréya. K’shitegarbha. Samantabhadra.
Mandjus’ri. Sakyamuni. Atchala.
This picture offers an admirable example of the firm delicacy of
outline and harmony of colouring of the earlier Butsu-yé.
Artist unknown. Fifteenth century (?).
26. Kakémono, on silk, painted in colours. Size, 244 x 184.
Honen Shonin and the Spirit of Shan-tao.
Honen, in priestly robes, stands in an attitude of devotion before
the apparition of Shan-tao, which floats towards him upon a car-
nation cloud, and sends forth from its lips a golden beam of light.
In the foreground are two peacocks.
Inscription : “ Respectfully copied by Shamon (priest),
Ko-xtoxv.” Highteenth century.
Honen, the founder of the Jédd sect of Japanese Buddhists, died at
Kioto 1212 a.p., in his eightieth year. The principal temple of the sect
is at Chion in, in Kioto. Shan-tao was a celebrated Chinese priest, who
died in 681 a.p., at the age of sixty-nine. He is said to have existed
without sleep for thirty years.
This subject was originally painted by a monk named JO-TAD by the
order of Honen himself, to commemorate a dream in which the spirit
of the Chinese saint had appeared before him. The artist drew the
lineaments of Shan-tao in accordance with the verbal description of the
dreamer, and many years afterwards the portrait was found to correspond
exactly with one that had been taken from life over five centuries before.
 BUDDHIST SCHOOL. 73

27. Kakémono, on silk, painted in colours. Size, 22% x 102.

Portrait of Issan Gioja.
An aged priest seated upon a rock, holding a ringed staff (Jap.
Shakuj5) and a rosary (Jap. Judzu). The careful drawing of the
features indicated that the picture is intended as an actual portrait.
It is probably executed by the same hand as No. 28.
Artist unknown. Sixteenth century (?).
Issan Gidja, or Nei Issan, was a celebrated Chinese priest who came to
Japan in 1299 and remained in the country until his death in 1817.
The Shakuj5 is a staff surmounted by a kind of hoop, upon which are
looped a number of loose metallic rings. It is an attribute of certain
Arhats and Bédhisattvas, by whom it is carried to give warning by the
clanking of the rings to insects and other creeping things, lest they should
be crushed by the footsteps of the saint. The sound made by the rings
has given origin to the onomato-poetic Sanskrit name of the object skha-
kha-rean.
For a description of the Buddhist rosaries used in Japan, see a contribu-
tion by Mr. J. M. James, in vol. ix. of the ‘Transactions of the Asiatic ~
Society of Japan.’
According to the Butzu 20 dzu-i, the rosary was introduced into China
during the reign of the Emperor Chang Ti (76-89 a.p.) by an Indian
priest. It comprised 108 beads; 12 for the months, 24 for the solar
periods of the year (lit. breaths), and 72 for the lesser terms of five days,
into which the year was subdivided by the Chinese. Mr. James considers
that its use and the number of beads were first determined at the Council
of As’éka, 250 B.c., and that the number corresponded to the sum of the
lusts of the flesh by which human beings are supposed to be enslaved.
The Shozoku Judzu, the rosary common to all sects in Japan, consists of
112 beads, exclusive of two large ones introduced to divide the number
into two equal parts. The Mala or Brahmanic rosary appears as an
emblem in the hand of Brahma in Indian images. (Birdwood.)

28. Kakémono, on silk, painted in colours. Size, 22% x 12.

Kwanshojo (Tenjin Sama), and other Figures.
The principal figure stands upon.a rock, supported by two
Dévas of martial aspect, one grasping a spear and a rope, the other
a vadjra-hilted sword and a Precious Gem. Below, seated upon a
rocky ledge, is a priest (probably Issan) holding a Buddhist wand.
The symbols of the sun and moon are represented at the upper
part of the picture.

Artist unknown. Sixteenth century (?).

“Tenjin Sama ” is the posthumous title of Kwansh6jd, or Sugawara no
Michizané, a court noble of the ninth century, who was noted for his
learning and piety, and for his skill as a calligraphist. He died in exile
in 903 A.D., a sacrifice to the intrigues of his rival Tokihira. He is
popularly regarded as the God of Calligraphy.
74 JAPANESE PICTORIAL ART.

29. Kakémono, on silk, painted in colours. Size, 892 x 16.

Raigon no Mida. Amit&ébha and Bédhisattvas. (See
No. 41.)
The Buddha appears surrounded by his retinue of the “ 'T'wenty-
five Bédhisattvas,” most of whom have feminine forms, and are
playing upon instruments of music. The space around the
heavenly choir is filled with floating lotus-petals, flowers, and
divine images.
The names of the Béodhisattvas will be found in vol. i. of the
Butzu 26 dzu-i, the cuts in which have been repeated in Siebold’s
Nippon, and will allow ready identification of each figure.

Artist unknown. Eighteenth century.

30. Kakémono, on silk, painted in colours. Size, 87 x 173.

Honen and Shan-tao.
The picture represents the same subject as No. 26.
Artist unknown. Nineteenth century.

31. Kakémono, on paper, painted in colours. Size, 885 x 163.

Benten and her Fifteen Sons. (See p. 43.)
The Eight-armed Benten seated upon a rocky pedestal, around
which is coiled her attribute, the Dragon. Grasped in the eight
hands are a spear, a wand or sceptre, a tchakra, a vadjra-hilted
sword, a Sacred Key, bow and arrows, and three Precious Gems.
The goddess is supported on either side by Bishamon and Daikoku,
and before her stand the fabulous Chinese Emperors Shun and Yao.
Her sons are grouped in the foreground, with the emblems of their
respective avocations. |

Artist unknown. LHighteenth century.

32. Kakémono, on silk, painted in colours. Size, 444 x 193.

Portrait of a Priest.
A Buddhist priest of high rank seated in an armed chair, over
which has been thrown a brocade figured with dragons and
peonies. He holds a fly-brush (Jap. Futsujin).
Artist unknown. Nineteenth century.
The Futsujin (Ch. Hos’su) is a fly-brush, composed of a plume of white
horse-hair fixed to a short handle, and carried by the priesthood as a
symbol of their clerical functions. “Buddha said, ‘ let every Bhikchu
have a brush to drive away the mosquitoes.” (Butsu 20 dzu-t.)
 BUDDHIST SCHOOL. 75

33 and 34. A pair of Kakémonos, on silk, painted in colours.

Size, 584 x 293.
Nit’ Ten (Sansk. Strya). The Sun Déva.
An effeminate figure of deep red complexion, the head sur-
rounded by a flaming nimbus, the right hand holding a lotus
flower, the left a lotus stem upon which rests an emblem of the sun.
He is seated in a chariot drawn by four red horses, and guided by
a minor divinity, who carries a fan inscribed with the Svastika.
Below are two dévas armed with bows and arrows,
The Svastika, or Fylfot (Jap. Manji), is a mystic diagram of wide diffu-
sion and great antiquity. It is mentioned in the Rémdyana, and found in
the rock temples of India, as well as amongst all the Buddhistic people of
Asia, and, as the emblem of Thor, even among Teutonic races. In China it
is regarded as the symbol of Buddha’s heart, i.e. of the Esoteric doctrines
of Buddhism, and it is the special mark of all deities worshipped by the
Lotus School (Hitel). In Japan it has the same significance as in the
Middle Kingdom, and is sometimes used as a symbol for very long periods
of time—lit. ten thousand years.

Gwat’ Ten (Sansk. Soma Diva). The Moon Déva.

The figure is of white complexion, the head is surrounded by
a nimbus of flame, and in the hand is a symbol of the moon sup-
ported by a lotus stem. The dress bears a device of a white hare,
in allusion to the well-known Buddhistic legend; the chariot is
drawn by four geese, of which two are green and two are white.
Near the bottom of the picture are two lesser divinities, one
holding a lotus, the other a wreath of flowers.
Artist unknown. Seventeenth century (?).
35. Kakémono, on silk, painted in colours. Size, 193 x 11},
Kichimojin the Maternal (Sansk. HAnrrri, or Darrsa
MAtrt).
A female figure holding a peach, and nursing in her bosom an
infant, whose hands are folded in prayer. In front stand two nude
children, one of whom grasps a peach, the other a branch of
bamboo.
Artist unknown. Nineteenth century.
Hariti, or Ariti, once a devourer of infants, was converted by S’akya-
muni, and became a Buddhist nun. She is now worshipped as a
protector of children, and in China her image is often seen in convents.
In Japan she is more frequently represented in her unconverted state, as
one of the Rakchasi, devouring the five hundred offspring to which she
had been condemned to give birth as a punishment for her evil deeds.
The peaches and the bamboo in the picture are probably symbols of
the long years of existence conferred by the divinity upon children who
have faith in her.
76 JAPANESE PICTORIAL ART.

36. Kakémono, on silk, painted in colours. Size, 18 x 9f.

Benten and her Sons.
The details are nearly as in 31. The diadem of the Goddess
here has its characteristic form, showing a serpent (which com-
monly has a human head) coiled beneath a Torii, or Shinto
gateway.
Artist unknown. Highteenth century.
37. Kakémono, on silk, painted in colours. Size, 302 x 112.
Portrait of Tokuhon Gidja. |
An old priest sitting in Japanese fashion in a cathedra of Chinese
form. The features appear to have been faithfully copied from
nature.
The inscription above the figure is by Toxu-non himself, and the
drawing is probably by the same hand.

38. Kakémono, on silk, painted in colours. Size, 343 x 163.

The Amitabha Trinity.
Amitibha, Avalokités’vara, and Mahasthamaprapta.
Painted by Miyamoto no S0-yd. Signed. Seal.
Characters of inscription by Yukai. LHighteenth century.
Amit&bha, with his spiritual sons; is the most frequent subject for the
Buddhistic painter and sculptor in China and Japan. It is noticeable
that Avalékités’vara and Mahasthamaprapta have always a feminine
aspect. A similar Trinity is formed by S’akyamuni, Samantabhadra, and
Mandjus’ri, the supporters in this case also assuming the appearance of
women.

39. Kakémono, on silk, painted in monochrome and gold. Size,

832 x 114.
The Benten of Enoshima and the Two Déva Kings
(Ni TEn-s1y).
Benten appears in warlike guise, armed with a sword. At her
feet are a serpent and a Sacred Tortoise, and the Déva Kings stand
one on either side. .
Painted by Kuwa-cara SH0-suin. Signed SHo-SHIN。 Seal.
Kighteenth century.
40. Kakémono, on cotton fabric, painted in colours. Size, 783 x 35}.
Jigoku (Sansk. Nanak). The Torments of Hell.
The details differ little from those usually depicted, but especial
prominence is given to the figures of Jizo (K’shitegarbha) and the
Old Woman of the River of the Three Paths. The former looks
benevolently upon the little children who are trying to deliver
 BUDDHIST SCHOOL. 77

themselves from purgatory by building up piles of stones; while

the latter, a hideous hag, receives the clothing of the souls newly
arrived from the material world. A somewhat unusual element
in the picture is the figure of a saint who is just delivering a soul
from destruction; he probably represents the P’usa (Bodhisattva)
of the Chinese popular writers.
Artist unknown.
This painting is of very recent date, and is coarse in execution, but is
of interest as a reflex of the modern popular ideas of the Buddhist Hell.
Jizo Bosatsu (Chinese, Ti-sang; Sansk. K’shitegarbha) is one of the
most popular of the Buddhist divinities amongst the Japanese, although
seldom referred to in Chinese Buddhism. In Japan his image in stone, as
the patron of travellers, is a familiar road-side object ; shrines and temples
are everywhere erected in his honour; and his gentle figure may be
recognised in thousands of kakémonos: while as the Saviour, watching
over the spiritual welfare of little children, and ever ready to suffer in hell
that the damned may be respited from their torments, he holds a place in
sermons and books not unlike that of our Lord in the New ‘Testament.
He may usually be identified by his mild and youthful face, stamped
with the brow mark (urna) of the Bodhisattva, by his priestly figure, and
by his attributes, the ringed staff and Sacred Gem. The Butsu 26 dzu-t,
however, gives several figures, which differ somewhat in their characters.
”Of these, six are grouped together as the Dai Roku Jizo: one bears the
sceptre of authority, the second brings the fertilising rains, the third
_ mitigates the agony of the fall into Hades, the fourth gives help to the
famished Prétas, the fifth checks the warfare of the damned in the Shiwrado
Hell, and the sixth delivers from torments the souls reborn as beasts.
The San-dzu-gawa no Baba (or Sodzugawa no Uba) is described in the
Butsu 20 dzu-i as an old woman, sixteen feet in height, and with eyes as
large as wheels. She is stationed at the San-dzu-gawa, or River of the
Three Paths, to receive the earthly clothing from ghostly arrivals, and to
dispatch them along their destined roads to Paradise or Hell, or back
again in another form to the world whence they came. She is said to have
a male associate, named Kenyé VU, who hangs the garments upon a tree,
but he is seldom represented in pictures.

41. Kakémono, on silk, painted in colours. Size, 472 x 27.

Amitabha and the Twenty-five Bédhisattvas descend-
ing upon the Temple of Dai Chiji, in Kishiu. (See No. 29.)
Artist unknown. Eighteenth century.
42. Kakémono, on silk, painted in colours. Size, 39} x 152.
Sui Ten (Sansk. Varuna).
A terrific figure, with green complexion ; the head is surrounded
by a flaming nimbus, and bristles with snakes. He grasps in one
hand two intertwined serpents; in the other a golden cup; and
floats upon the waves, supported by a Tortoise.
Compare with No. 20.
Artist unknown. Nineteenth century.
78 JAPANESE PICTORIAL ART.

43. Kakémono. Coloured wood engraving. Size, 553x 26}.

Paradise and Hell.
The middle of the picture is occupied by a view of the Pure
Land of the West, promised to the believers of the Mahayana sect;
a true Eastern Paradise, with its lotus-bearing waters, gorgeous
pavilions, and streams of golden light. Amitaibha fills the
central throne, supported on either hand by his spiritual sons,
Avalékités’vara and Mahasthiamaprapta, and surrounded by Bud-
dhas, Bédhisattvas, Arhats, and, Dévas, of varying dignity, while
the air teems with angels, sacred flowers, birds of brilliant plumage,
and cloud-borne shrines and Buddhas.
The margin shows a panoramic series of illustrations of Earth
and Hell; the misfortunes incident to human life, as war, robbery,
flood, fire, excessive toil, poverty, and disease; the cardinal vices
of drunkenness, anger, cruelty to animals, theft, murder, violence
to the priesthood, destruction of holy writings, disobedience to
parents, carnal lust, &c.; the contrasting virtues, private and’
religious; and finally, as a supplement and warning, the sufferings
of the damned in the torture chambers of Hades.
Artist unknown. Eighteenth century.

44. Kakémono, on silk, painted in colours. Size, 282 x 152.

Komio Shingon Mandara (Sanskrit, Prapni Mantra
MANDATA).
An image of Dai Nichi Niorai (Maha Vairbtchana)，grasping the
left forefinger with the right hand. Surrounding the figure is a
circle of Sanskrit characters forming a pious sentence, the constant
repetition of which constitutes an important part of the devotions
of the priests of the Shingon sect:
Om.—Amé-gha Vairdtchana Mahd-mudra-mani-padma Jvala-pravart-
taya.—Hum.
Artist unknown. Nineteenth century.
The term Mand4la originally signified a circle, but it is now applied in
Buddhistic art to any picture containing representations of a number of
divinities, whether grouped in a circle or otherwise. The principal figure
in the Mandala is most commonly that of Vairdtchana.

45. Kakémono, on silk, painted in colours. Size, 313} x 111.

Marishi Ten (Sansk. MARITOHI Dfiva).
A triple-headed figure of threatening aspect, with four arms,
holding a spear, bow, and war-fan. He stands upon the back of a
white boar, his foot resting upon a tchakra-shaped saddle.
Artist unknown. Highteenth century.
 BUDDHIST SCHOOL. 79

Maritchi is usually represented by the Japanese in this form as

the Defender, but Chinese pictures more frequently show him as the
presiding Genius of Light, a female divinity with eight arms, in two of
which are emblems of the Sun and Moon. The Brahmanic original was a
personification of Light.

46 and 47. A pair of Kakémonos, on silk, painted in colours.

Size, 333 x 16}.
Two images of Benten.
1. The eight-armed BENTEN (Sarasvati Benten, or Benten the
Eloquent), seated upon a rock surrounded by waves. In the hands
are a bow, arrow, key, wheel, spear, vadjra-shaped staff, sword, and
Sacred Gem.
2. Similar to the last, but the staff, key, and ball are replaced
by an axe, a vadjra-headed spear, and a coil of rope. The diadem
bears a Sacred Gem and two peonies.
Artist unknown.
Painted in the period Ansei (1854-60), and formerly kept
at Iwamoto, in Enoshima.
The rope or cord (Sansk. pasa) as an attribute of the Brahmanic
Lakshmi, Varuna, and Siva, is regarded as an emblem of the marine
girdle of the earth (Birdwood), but it appears to have lost this signification
in Japanese Buddhism.

48. Kakémono, on silk, painted in colours. Size, 403 x 143.

Jizei Bosatsu (Sansk. VasupHara).
A deity seated upon a lotus, holding a peach in the right hand.
In front are two Dragon-Kings rising from the waves to make
offerings. Apsaras float in the sky, and Buddhistic symbols, as
svastikas, gems, and conchs, are scattered upon the ground.
Artist unknown. Highteenth century.
49 to 51.—A set of three Kakémonos, on silk, painted in colours.
Size, 47% x 19.
1. Amitabha, in the position known as “Gé-hon, Gé-sho.”
2, Avalékités’vara, holding a crystal bowl containing a
branch of bamboo.
3. Mahasthamaprapta, holding a lotus.
Artist unknown. Eighteenth century.
52. Kakémono, on silk, painted in colours. Size, 341 x 16.
The S’akyamuni Trinity, with the Sixteen Good
Spirits (Jap. JIUROKU Zunsm).
Artist unknown. Eighteenth century.
80 JAPANESE PICTORIAL ART.

53. Kakémono, on silk, painted in colours. Size, 59} x 322,

The Amitabha Trinity (see 38).
Artist unknown. Nineteenth century.
54. Kakémono, on silk, painted in colours. Size, 88 x 163.
“The White Path of the Two Rivers” (NI-GAWA
BIAKU-D0).
A well-known allegory, showing the perfect Buddhist on his way
to salvation. Leaving behind him the perils of the evil passions,
typified by wild animals and violent men, he passes in safety
between the flames of anger and the waves of covetousness, upon
the silvery path of Pure Faith that leads to the feet of the saving
Buddha, Amitaébha, and sees unrolled before him the beauties of the
Western Paradise. On the right of the foreground stands the holy
teacher and a group of the uninstructed, who gaze in ecstasy at
the miracle before them.
Artist unknown. 了Eighteenth century.
55. Kakémono, on silk, painted in.colours. Size, 501 x 221.
The Eleven-faced Kwanyin (Jap. Jru-1cu1-men Kwan-
NON).
The figure is of female type, and is distinguished from the
ordinary representations of Kwanyin by the ten smaller faces which
surmount the principal head. ‘The lotus throne is supported by
two dragons. From the body of the goddess radiate golden beams,
made up of characters forming a chapter of the Sfitra, “ Hoké Kis”
(Saddharma Pundarika), and extending as far as a wreath of lotus
leaves and flowers that surrounds the whole. The picture is an
imitation of the celebrated image at Nakayama, in the province of
Settsu (see engraving in Butsu zd dzu-i). Of the many faces of the
goddess, those which look forward are said to wear the aspect of
benevolence; those turned to the left express anger at the faults
of man; and those on the right side smile graciously at the sight
of good acts, or laugh in scorn when confronted by evil deeds.
Artist unknown. Eighteenth century,

56. Kakémono, on black paper, painted in gold ink. Size, 42} x 168.
The Thousand-handed Kwanyin (Sen-s1v Kwannoy).
KwanyIN is represented upon a throne, guarded by the four
Maharadjahs, and supported by a four-headed elephant, who in
turn stands upon a “ Wheel of the Law” (Dharma tchakra). The
numerous hands of the goddess grasp Buddhist emblems.
The border of the picture is made up of lotus-fibre interwoven
 BUDDHIST SCHOOL. 81

with narrow strips of paper. The use of lotus-threads is not

uncommon in connection with Buddhist pictures. The celebrated
Mandara, of Cuiis6 Himt, made in the eighth century, was
embroidered upon a web of this description. |
Artist unknown. LHighteenth century.
The term ‘ thousand-handed” has no precise numerical signification,
but merely implies a great number. Thus the well-known image of the
Thousand-handed Kwanyin of Jédo-in at Nikko has only forty arms.
A figure of the Sen-jiu Kwannon, in the temple of Baisé-in at Akasaka,
is said to have been brought from India to China by the Singhalese
pilgrim Amédgha and thence to Japan in 743 a.p. by Kwanshin Daishi.
See ‘ Handbook for Japan’ (p. 20).

57. Kakémono, on silk, painted in colours. Size, 362 x 15%.

Fugen Bosatsu (Sansk. SAMANTABHADRA).
A figure of feminine aspect, seated upon an elephant, and
holding a lotus. The elephant, which has three pairs of tusks,
stands upon the thalamus of a lotus.
Artist unknown. Eighteenth century.

58. Kakémono, on silk, painted in colours. Size, 41 x 233.

Emmei Son (Sansk. 及 'SHITEGARBHA ?).
A sitting figure, holding a vadjra in the right hand, and a vadjra-
hilted bell in the left. Images of the “ Five Holy Buddhas”
(Vairétchana, Akchébhya, Amitébha, Amégha, and Ratna Sam-
bhava) form part of the crown.
Artist unknown. Nineteenth century.

59. Kakémono, on silk, painted in colours. Size, 50% x 44.

Mandara. Assemblage of Buddhist Divinities.

The figures are too numerous for complete description. The

principal image of the central group is that of Vairdtchana (Dai
Nichi Niorai). Above, below, to the left, and to the right of this
are four Buddhas, viz., Akchébhya (East), Amitabha (West),
Amagha (North), Ratna Sambhava (South), and alternating with
these are four Bédhisattvas. Beneath are three prominent figures,
that in the middle line probably representing Akas’agarbha, that
on the left the Eleven-faced Kwanyin, that on the right another
manifestation of Kwanyin. The remaining forms are mostly
familiar groups of divinities, such as those of the Sixteen Bédhi-
sattvas, the Twenty-five Bédhisattvas, the Seven Kwanyins, the
Thirty-three Kwanyins, &c.
Artist unknown. Seventeenth century.
82 JAPANESE PICTORIAL ART.

60. Kakémono. Coloured woodcut. Size, 20 x 163.

Mandara.
The “ Pure Land in the West,” with figures of Amitébha, Ava-
lokités’ vara, and Mahasthamaprapta.
The picture is a copy of the famous “ Hasu-ito no Mandara ”
(Lotus-fibre Mandala) of CHIU-I0 Hii, at Tayéma-déra.
Artist unknown. Eighteenth century.

61. Kakémono, on silk, painted in colours. Size, 31 x 154.

Sambo Kojin, the Spiritual God of the Three
Treasures.
A four-armed divinity holding a precious gem, a tchakra, and
two vadjras.
The picture is blackened, apparently by smoke, and greatly
dilapidated through age and exposure. An inscription upon the back
states that it was remounted in the fourth year of Kwanyen (1751).
Artist unknown.
Sambo Kojin is popularly known in Japan as the Kitchen God, owing
to a custom of placing his image in kitchens. His chief office, according
to the Butsu 20 dzu-i, is the punishment of evil-doers.

62. Kakémono, on black paper, painted in colours. Size, 314 x 10.

Three Shinto Divinities.
Saruda-hiko Daijin,
Ona-muji no Mikoto,
Sukuna-bikona no Mikoto.
Saruda, the central figure, is distinguished by his large and
somewhat florid nose; he holds a branch of Sakaki (Cleyera
imperialis), decorated with Gohei. Onamuji, on the right, grasps
a spear and a sacred gem; Sukuna, on the left, has in one hand
a cup, in the other a kind of sceptre. Above are emblems of
the sun and moon, supported by clouds. 了Two seals are appended
to the picture, the upper reading as Koyé, the lower as Showa.
Artist unknown. Eighteenth century. ;
Shrines to these divinities exist in caverns on Mount Koshin, near
Nikko. The name of the mountain is derived from a title of Saruda-
hiko.
Saruda-hiko is described as a god “ with a nose seven cubits long, and
great eyes that shine like mirrors.” When Ninigi, with five associates,
went from heaven, at the command of the Sun-Goddess, to rule over
Japan, this formidable being blocked the way, but was disarmed by a
display of the physical charms of the goddess Uzumé no Mikoto (Okamé).
A small shrine at the ancient temple of Kasuga no Miya, Nara, is
 BUDDHIST SCHOOL. 83

dedicated to Saruda-hiko, who is regarded as the ground landlord of the

locality. According to the ‘ Handbook for Japan’ (p. 388) this god made
an agreement with the god of Kashima to lease 3 feet of earth to him,
“put the latter cunningly enclosed 3 ri square of ground during the
night, pretending that the 3 feet in the contract referred only to the
depth of soil. It is the popular belief that in consequence of this trick
no tree on Kasuga yama sends its roots more than 3 feet below the
surface.”
Ona-muji, “The great possessor of names,” was a descendant of
Susand-no-Mikoto (son of Izanagi and Izanami, the creators of Japan).
He became ruler of the country after overcoming his rebellious brethren,
and in conjunction with Sukuna-bikona, the eldest son of Izanagi and
Izanami, completed the work of civilization. To these two gods are
ascribed the discovery of medicine, and the invention of divination. (See
Satow, Revival of Pure Shinto, ‘Trans. Asiatic Soc. Jap.,’ vol. iii.)
Gohei, literally “ August presents,” are offerings to the gods. When
plain they consist of a rod of wood from which hang two strips of paper.
They were originally supposed to attract the gods to the places, but
afterwards became regarded as the seats of the gods, or as the gods
themselves.
The names of seven other Shinté divinities, called the Go Shichi
Mio O, are written upon the picture.
. Michi no Mioya no Kami.
. Inochi no Kami.
Konjin.
Shiwo Gawa no Kami.
Saiwai no Kami.
ee
. En Musubi no Kami.
7. Funadama no Kami.
63. Kakémono, on silk, painted in colours. Size, 173 x 18}.
The Pure Land of the West (Sansk. SuxHavari).
The Buddhist Paradise, with its lotus lakes and jewelled pavi-
lions, presided over by Amitébha and his spiritual sons. The
Buddha who occupies the central throne, here takes the form
known in Japan as “ Mandara no Mida,” distinguished by the
marks of the wheel of the law upon the right hand, and left foot,
and by the Svastika upon the breast.
Artist unknown. Nineteenth century.
64 to 66. A set of three Kakémonos, on silk, painted in colours.
Size, 23 x 111.
Dai Nichi Niorai, Aizen Mi5 O, and Gwanzan Daishi.
1. Dai Nichi Niorai (Sansk. Vaéirétchana).
The position of the hands, the right forefinger grasped in the
left palm, has a special significance which even the initiated find
difficult of explanation.
@ 2
84 JAPANESE PICTORIAL ART.

2. Aizen Mis O. A transformation of Atchala the Insatiable,

with flaming halo and six arms: one hand is clenched and threaten-
ing, the others hold a vadjra, bow, arrow, bell, and lotus. Sacred
gems fall from the throne, and the ground is strewn with Buddhist
symbols. ‘
Aizen Mid O, as described in the Butzu 20 dzu-i (vol. i.), is sur-
rounded by a fiery aureola, and bears on his head a lion crown. His
body has the colour of the sun, and his triple eyes glare with anger.
3. Gwanzan Daishi, appears in priestly garb seated upon a dais,
holding in one hand a crystal rosary, in the other a vadjra. At the
upper part of the picture are oblong spaces for poetical or other
compositions.
Painted by 也-pogopo Muni-ntwa. Dated the 5th year
of Shétoku (1715).
Gwanzan or Jiyé was a famous Japanese priest of the Tendai sect
(914-987 a.p.). The Buddhist temple of Jigendd, at Uyéno is dedicated
to him and Jigen Daishi (seventeenth century), jointly, as the Rio Daishi
(Two Great Teachers).
The title Daishi is conferred as a posthumous honour by the Mikado
upon distinguished members of the priesthood.

67. Kakémono, on silk, painted in colours. Size, 33} x 163.

The Gods of the Twenty-one Mountains. (Jap. San No
Ni-s10-1 Sia.)
The presiding deities of the Great Mountains of Japan form
a rather mixed assemblage, consisting of Japanese priests and
emperors. The nun Chiijé Himé; two figures, one with the head. of
a monkey, the other with that of an ox; and a number of divinities
resembling Dévi. Hach god occupies a special compartment, and
is seated upon a dais in front of a three-leaved screen. In the
middle of the picture is the Kurikara, a Dragon coiled around the
sacred sword, supposed to be an emblem of the union of the active
and passive coefficients of nature (yang and ying), or the essential
elements of creation. A Tengu (see No. 2125), in priestly robes,
and two monkeys, are represented upon a verandah, the entrance
to which is guarded by two lions, the emblems of S’ékyamuni.
These divinities are recognised only by the Tendai sect.
Artist unknown. LHighteenth century.
68 to 77. A set of ten Kakémonos, on paper, painted in colours.
Size, 60 x 263.
Various Buddhist subjects.
(1) The Court of King Yama.
The King of Hades, seated upon his throne, and surrounded by
his ministers, is glaring fiercely upon an unhappy spirit just
 BUDDHIST SCHOOL. 85

brought to judgment. The delinquent, in the grasp of a demon,

is confronted with the mirror, whose accusing surface reflects the
image of himself in the act of perpetrating the blackest of the
crimes enumerated in the Buddhist code, the murder of a holy priest.
Near him stand other souls in funeral wrappings, awaiting their
trial. On the left a fiendish scribe registers the sentences of punish-
ment, while upon the opposite side sits a figure of beneficent
aspect, whose duty is to inscribe acquittals. Next to each of the
secretaries is a rod, surmounted by a head, demoniacal on the
left, angelic on the right. Amongst other examples of anthropo-
morphism in the treatment of the subject, are some unfortunate
souls who are fettered in true Chinese fashion by the wooden collar
or cangue.
In Chinese Buddhism, ten Yamas are recognised as presiding oz

over the infernal courts. It is believed that the disembodied spirit

is summoned before each of the ten in succession, at certain
intervals, until the last interview terminates the period of Chiu-in,
or suspense, and brings the execution of the judgment. The ap-
pointed times of trial are the 7th, 14th, 21st, 28th, 35th, 49th, and
100th days after death, and the first and second anniversary of the
demise.
(2) The First Hell.
The picture shows the usual details of torture—burning, crushing,
boiling, &c.
(3) The Third Hell.
The picture is for the most part filled with representations of
the more commonplace and material torments; but a curious
exercise of Oriental ingenuity is shown in the punishment devised
for those who have yielded to carnal sins during life. Some of the
offenders are seen shrieking in the fiery embraces of demon courte-
sans, while others, irresistibly impelled by the passions they now
expiate, climb spiky trees in pursuit of phantom houris, who always
elude their grasp to reappear in a new spot and tempt the
lacerated wretches to repeat their never-ending struggle of agony
and disappointment.
(4) Gaki (Sansk. Préta).
The Prétas are represented by bistre-coloured starvelings, who
are ever tantalized by the presence of food and water that turn to
fire when brought to their lips. One of the wretches is seen to
stab himself that he may quench his thirst with a draught of his
own. blood, another feasts greedily upon some emaciated children,
and others are prostrating themselves to beseech the intercession of
the priesthood. A préta with an enormously swollen abdomen is a
common figure in such scenes,
(5) A Japanese rendering of the Buddhistic view of cruelty to
animals, a sin which includes not only such sports as cock-fighting,
hawking, and hunting, but the exaction of excessive work from
86 JAPANESE PICTORIAL ART.

horses and oxen in agriculture and transport. The oppression of

animal by animal is liberally illustrated, and in one place appears
in a kind of retributive series. A frog in the act of swallowing
a worm is seized by a snake, upon which in turn an attack is made
by a wild boar, while a hunter prepares to discharge an arrow at
the quadruped, ignorant of the presence of a demon, who is about
to transfix him with a spear. Near by, a monster serpent, sick and
helpless, has become the prey of the meanest insects.
(6) The conflict between Indra and the Asuras.
At the foot of the picture, the Dragon Kings are seen bowing
before a young prince. In a chamber to the left of that occupied
by the prince, are two Dragons, and a Garuda flies out of the
building, carrying in its beak a large snake. The meaning of this
portion of the subject is somewhat obscure.
The King of the Asuras, distinguished by his gigantic size and
triple head, is armed with bow and sword, and grasps in one of his
four arms a symbol of the moon. Indra, mounted upon a white
elephant, attended by the four Maharadjahs and a numerous army
of Dévas, scatters destruction amongst the rank and file of the
Asura host. The Thunder God is seen at the left of the picture,
sounding the battle alarm.
Below are represented some temple buildings, in which female
figures dressed like princesses are weeping, while on the left are
seated some divinities, who appear little concerned in the fortunes
of the day.
(7) The Three Visions.
The subject appears to be a Japanese adaptation of the story
of the “three visions,” by which the mind of S’ékyamuni was
turned from worldly pride and luxury and engraved with the
indelible conviction of the impermanency of all things. The young
S’akyamuni is represented by a Japanese prince, probably Shitoku
Taishi, and the rest of the actors in the scene, as well as the
buildings and accessories, are essentially Japanese; a fiction which
the artist may have adopted in order to make the story more
impressive for his countrymen. The episodes of the old man, the
sick man, and the corpse, are shown in different parts of the picture,
and new elements, pointing to the same moral, are introduced in
the form of an aged woman, sorrowfully regarding her withered
features in a mirror, and a blind man, whose uncertain steps are
guided by a child. In another portion of the picture, the beauties
of the seraglio are listening to the recitative of an old pilgrim,
who is rolling the beads of a rosary between his palms; and in
the foreground is seen the young prince, about to quit his house,
receiving from an attendant a bamboo decorated with gohei.
(S) The evils of earthly existence.
Fire, famine, war, sickness, and death.
Death is represented under three different aspects—in one place,
 BUDDHIST SCHOOL. 87:

a mother and father gaze upon the body of their only child; in
another, a noble weeps over the loss of his young wife; and in
a third, an infant vainly seeks the cold breast of the emaciated
corpse of his mother, while a carrion-crow perched above waits for
its prey. The conflagration scene might stand unaltered as a
picture of the same calamity in the present century.
(9) “The Nine States of Death.”
The corpse of a young female is seen passing through all the
stages of decomposition, until at last, unclean beasts and crawling
things having had their fill, all that is left of the once active
life is represented by scattered fragments of bones. The moral
of this, as of the two preceding pictures, is the Buddhist key-
note, that all in this world is vanity, and naught is permanent.
The figure represented is said to have been that of the Empress
Danrin (ninth century), who was thus exposed in obedience to her
own wish. The poetess Ono no Komachi is the subject of a similar
revolting design.
(10) A scene of peace and prosperity.
It is somewhat curious to observe that a peasant is carrying a
supply of game and fish to the house where the rich man sits
feasting, notwithstanding the serious view taken with regard to
the destruction of animal life in one of the preceding pictures.
In the foreground is shown a group of demons startled by the
sudden bursting of their hellish caldron,.and the appearance in
the midst of its watery contents of gorgeous lotus-flowers which
cradle new-born infants in their petals.
Artist unknown. The originals are said to date from
the ninth century.
78. Kakémono, on silk, painted in colours. Size, 484 x 214.
Ja-shin no Benten. (THE BENTEN WITH THE SERPENT-
Bopy.) See p. 42.
Benten is here represented in a very unusual form. ‘The upper
portion of the figure, which is shown rising above the waves,
resembles that of a Dévi, but terminates below the waist in
serpentine coils that are visible through the transparent water.
The goddess holds in one hand a sword, in the other a sacred gem.
Copied by Tarra So-IN in the seventh year of Tempo (1836),
from a picture by Kosi NO Kana-oxa (ninth century). Seal.
79 and 80. A pair of Kakémonos, on silk, painted in colours.
Size, 421 x 1832.
The Twelve Déva Kings. (See Nos. 9 to 20.)
Silk and pigment greatly discoloured, probably by contact with
incense fumes.
88 JAPANESE PICTORIAL ART.

Attributed to Kosi no Kori-nisa. No signature or seal.

Fourteenth century.

81. Kakémono, on silk, painted in colours. Size, 394 x 15%.

Zengo Ria O. (The Dragon King.)
A divinity with green complexion and dragon tail, clad in flowing
robes, and holding a golden salver upon which are three Sacred
Gems. He stands upon a cloud that rests upon the waves.
Painter unknown. Nineteenth century.

82. Kakémono, on silk, painted in colours. Size, 44} x 18}.

S’akyamuni.
The Buddha is seated, holding in his hand a begging bowl.
Painted by Ho-rrsu after a picture by NoBU-ZANE (13th
century). Signed. Seal.
The original picture is a celebrated work, but possesses more
historical than artistic value if the copy be accurate.

83 and 84. A pair of Kakémonos, on silk, painted in colours.

Size, 383 x 1632.
The Sixteen Arhats. (See p. 46.)
Attributed to Kano Kazu-nosu. Probably a copy. Nine-
teenth century.

85. Kakémono, on silk, painted in colours. Size, 402 x 18.

Dragon King (NAga-RADJA).
A human figure in imperial dress standing upon the back of a
dragon which bears him upon the surface of the waters. He holds
a salver containing three Sacred Gems.
Painted by Tama-raxa (or GHoKU-RIU) I-snmy. Signed
Hoaen Tama-raxa I-sury. Two seals. Date on back of
kakémono, 9th year of Tempo (1838).

86. Kakémono, on silk, painted in colours. Size, 36% x 141.

The Hight-sworded Bishamon (VAs RAMANA).
The god is mounted upon a lion, and rests his right foot upon
a tortoise, the left upon a lotus thalamus. He has four triple-
eyed heads, and twelve arms; eight of the hands are armed with
swords, the remaining four hold a vadjra, a pagoda, a precious gem,
and a sacred key. The nimbus is represented by a modified
ichakra, upon which are emblems of the sun and moon, and two
 BUDDHIST SCHOOL. 89

figures riding upon foxes. The helmet-crown is shaped like the

head of a lion, and is surmounted by a figure of Vairétchana.
This picture is a modified Butsu-yé, differing from the usual
form, chiefly in the absence of decorative colouring.
Painted by Hana-susa Irrer at the age of eighty-one.
Signed. Seal. The back of the picture bears an inscrip-
tion with the date of the 3rd year of Tempo (1832).

87. Kakémono, on paper, painted in colours. Size, 74 x 22.

Temple attendant holding incense-burner. Inscription above
the figure.
Artist unknown. Sixteenth century (?).
88. Kakémono, painted in colours upon a material woven from
lotus-fibres. Size, 362 x 143.
The S’akyamuni Trinity.
Attributed to Tosa Taxa-cutka. No signature or seal.
Twelfth century.
89. Kakémono, on silk, painted in colours. Size, 353 x 144.
Buddhist Divinity.
An effeminate figure holding a salver filled with peony flowers
and leaves. ,
Attributed to Wu Tao-tsz’.
On the outside of the kakémono is written “Td Go Désut hitsu.”
From the pencil of Wu To-tsz of the T’ang Dynasty. There is,
however, no further evidence of its authenticity or nationality.

90. Kakémono, on silk, painted in colours. Size, 34} x 15}.

Dai Koku Zo Bosatsu. (Sansk. Axisacarpna.)
An effeminate figure seated upon a lotus, holding the right hand
down with the palm turned forwards, and grasping a Sacred Gem
in the left. Flaming nimbus and halo.
Artist unknown. The period, ninth year of Anyei (1780),
written on the back of the kakémono, probably refers to
the date of mounting, as the picture appears to be much
older.
91 to 110. A set of twenty unmounted pictures, on paper, painted.
in colours. Sizes various. |
Buddhist wall decorations.
Dragons, apsaras, many-tinted clouds, &c., boldly sketched and
90 JAPANESE PICTORIAL ART.

strongly coloured. Intended for the decoration of the panels of

a Buddhist temple.
Artist unknown. Nineteenth century.
111. Unmounted drawing, on silk, painted in colours upon a gilded
background. Size, 8 x 44.
Hachiman.
A martial figure in Japanese armour, mounted upon a white
horse. Background gilded.
Artist unknown. Eighteenth century.
Hachiman is the deified Mikado Ojin (270-310 a.p.), the son of the
Empress Jing (p. 141). He is regarded by the Japanese as the God of
War.
112 and 112a. A pair of unmounted drawings, painted in colours,
upon a gilded background. Size, 64 x 33.
Daikoku. (See p. 33.)
Painted by KEI-I Signed. Seal. Nineteenth century.
113. Unmounted drawing on silk, painted in colours, upon a
gilded background. Size, 83 x 63.
Portrait of a priest.
Artist unknown. Nineteenth century.
114. Unmounted drawing, on black paper, painted in colours.
Size, 14 x 82.
The Amitabha Trinity.
Artist unknown. Eighteenth century.
115. Unmounted drawing on black paper, painted in colours.
Size, 13% x 102.
Ji-zo (Sansk. K’surrmcarpua). See p. 77.
A priestly figure, in rich apparel, standing upon two cloud-borne
lotuses, grasping in his left hand a Sacred Gem, in the right a
ringed staff. The face is youthful and gentle in expression, and
the brow bears the urna mark of the Bodhisattva. Background
black. :
Artist unknown. Seventeenth century (?).
116. Unmounted drawing on silk, painted in colours, with gilded
background. Size, 274 x 204.
“The Paradise in the West.”
The scene is very similar to other representations of the same
 BUDDHIST SCHOOL. 91

subject in the collection, but is somewhat more elaborate in its

architectural details.
A tendency towards linear perspective appears here, as in many
Buddhist pictures, in the convergence of lines of pavement and
lateral walls towards a kind of vanishing point. The vanishing
points are, however, improperly multiplied and placed without
reference to the position of the horizontal line. The idea under-
goes no further development.
Artist unknown. Nineteenth century.

117. Unmounted drawing upon blackened silk, painted in colours.

Size, 834 x 123.
K’shitegarbha. (See No. 115.)
Artist unknown. Eighteenth century.

118 to 126. A set of nine unmounted drawings on paper, painted

in colours. Sizes various.
Buddhist Hades.
1. King Yama.
2, 3, 4, and 5. Officials of the Infernal Court.
6. The accusing mirror. Souls awaiting judgment. The mirror
reflects a scene of highway murder in which the victim is being
strangled by a process similar to that adopted by the Thugs.
7 and 8. The torments of the damned.
9. The saving Bédhisattva descending to hell to aid the suf-
ferers.
Artist unknown. Nineteenth century.

127 to 130. A set of four drawings on paper, painted in colours.

Size, 504 x 234.
Buddhist Hades. (Sansk. NARAKA.)
The ‘Ten Kings of Hell’ appear in this series: in other respects
there are no special peculiarities in the treatment of the subject.
The malefactor brought before the mirror of accusation, is a temple
incendiary, and is hence reserved for the most condign punishment.
Artist unknown. Nineteenth century,

131 to 140. A set of ten unmounted drawings on paper painted

in colours. Size, 393 x 19.
Buddhist Hades.
The Ten Kings of the Buddhist Naraka. Judgment and punish-
ment of the sinners.
92 JAPANESE PICTORIAL ART.

Copied by UYE-MURA Yu-smo from ancient pictures.

Dated 7th year of Kwanyei (1795).

141. Unmounted woodcut, coloured by hand. Size, 50 x 18}.

Paradise and Hell.
A compressed pictorial review of the good and evil Karma,
with the reward of the former, and the ag) 2。 awaiting
the latter.
Eighteenth century.

142. Unmounted drawing on silk, painted in colours. Size,

402 x 193.
Portrait of a Priest.

’ A priest of high rank, seated upon a raised mat. The features,

those of a man below middle-age, have the aquiline type frequently
met with in Japanese of patrician birth. The red outer robe is
emblazoned with the crest of the Tokugawa clan, and a similar
device appears upon the curtain above.
Artist unknown. Nineteenth century.

143. Unmounted drawing on silk, painted in colours. Size,

333 x 17.
Portrait of a Priest.

The form of the ecclesiastical armed-chair upon which the

priest sits in Japanese fashion, is worthy of note.

Artist unknown. No signature. Two seals. Nineteenth

century.

144. Unmounted drawing on silk, painted in colours. Size,

47 x 284.
The Eleven-faced Kwanyin (JIU-ICHI-MEN Kwan-noy).
The goddess stands upon a lotus, holding a ringed staff in the
right hand, and a vase containing lotus-flowers in the left. Her
head is encircled by a radiant nimbus. —
Below are two guardian divinities of threatening aspect. The
figure on the right hand is red, and has three heads and six arms ;
his fellow on the opposite side is dark blue, four-headed, four-
armed, and serpents are entwined around his neck, loins, and
wrists.
Artist unknown. Eighteenth century.
 BUDDHIST SCHOOL. 98

145. Unmounted drawing, on silk, painted in colours. Size,

45% x 234.
The Many-handed Kwanyin (?).
A female figure seated upon a lotus, which rises above the
waves, and is supported by two Dragon Kings. She is attired
in a white robe, and holds various Buddhist symbols in her
eighteen hands.
Artist unknown. Eighteenth century.
146. Unmounted drawing, on silk, painted in colours. Size,
461 x 218.
The Many-handed Kwanyin.
The arms of the divinity are twenty in number. Her lotus-
throne is upborne by the four Maharadjas, who stand upon the
heads of as many sacred elephants; these in turn are supported
by a golden Wheel of the Law, which rests upon the backs of a
multitude of smaller white elephants.
Artist unknown. Seventeenth century (?).

147. Unmounted drawing on black paper, outlined in gold ink.

Size, 872 x 18}
The Amitabha Trinity.
Below are two votive figures, male and female, kneeling at the
feet of the thrones.
Painted by Ho-my On-xo. Signed. Seal replaced by
Kaki-han (a written sign). Seventeenth century (?).

148. Tracing from a wall-painting in distemper, at the temple of

Horitji (Nara).
Presented to the Collection by Ernest Satow, Esq., C.M.G.
Size, 1234 x 1023.
The Amitabha Trinity (?).
The central figure represents a Buddha seated upon a lotus-
throne which is supported by a number of crouching dwarfs.
The aspect of the Divinity, and the position of the hands (right
hand raised, both palms directed forwards) are in accordance
with the image of Amitébha described in the Butsu 26 dzu-i as
“ Nichi gwatsu T'-mid-Butsu.”
On each side of the Buddha stands a Bédhisattva, with hands
clasped in prayer (Avalékités’vara and Mahasthamaprapta?). In
the foreground are two martial figures of Déva Kings, and
between them two conventional lions. Four other personages
94 JAPANESE PICTORIAL ART.

appear behind the Trinity, two of whom have the aspect of Déva
Kings and two that of Arhats, but the details have become so
indistinct, from the effects of time and exposure, that identification
is very difficult.
The original work is said to date from the foundation of the
Temple by Shotoku Taishi, in 607 a.p., and is attributed to the
joint efforts of the famous Buddhist sculptor Tori Busshi and a
Korean artist. The half-obliterated remains still manifest the
touch of a practised hand, and in colouring and composition bear no
small resemblance to the works of the old Italian masters. The
painting is probably the oldest specimen of Buddhist or other
pictorial art extant in Japan, and has, moreover, an especial in-
terest as being one of the very rare examples of the application
of a coloured design directly to the surface of the plaster wall
(the ordinary mural decorations being usually executed upon paper
which is afterwards affixed to the wall by paste). It is not,
however, a true fresco.
 ( 9 )

THE YAMATO AND TOSA SCHOOLS.

———

Tux style of the Native School, called the Yamato, or WA-GWA RIU,
is the oldest and most characteristic, but in the works of its later
periods the weakest and most conventional, of the Japanese modifica-
tions of Chinese art. Its foundation is attributed to a Court noble of
the Fujiwara line, named ASUGA Moro-mitsv, who flourished in the
beginning of the eleventh century, but it is probable that most of the
peculiarities of the school had been gradually evolved before this
time under Kanaoxa and his followers, from one of whom, Kosi no
Krymocut, Motomrrsu had learned the principles of his art.
It has already been noted in the general introduction that the
later representatives of the Kost family devoted their brushes almost
entirely to Buddhist pictures, abandoning the field of Japanese
motives to the long line of painters of whom Moromrrsv is regarded
as the ancestor, and who at the same time inherited whatever
features of originality might have been developed in the art of
Kintapa, Kinmocut, Tsuninort, and other of their predecessors.
The name of Yamato BIO was retained until the thirteenth century,
and the school in the interval numbered many celebrated painters,
(in addition to those of the Kosé line enumerated on page 11),
amongst whom may be mentioned Mirsvu-curxa, the son of the
founder; Taxu-ma Tami-vst, an early contemporary of Moromrtsv,
and a collateral adherent rather than a pupil of the school;
工 AEKA-OHIKA and Taxa-nosu, descendants of Motomrrsv, Krt-on or
Sumryosst Hoauy, the son of Taxacura, and the Taxumas, Tami-nisa,
Tamu-16, Cué-ca, and SHO-GA (see list, p. 97). In the thirteenth
century the most famous artists were Nosu-zané, the son of Taxa-
Nopu, and Fust-wara no TSUNE-TAKA ; the latter, then at the
head of the school, assumed the family name of To-sa, which was
thenceforth retained by his descendants as the permanent title
of the Academy, which however underwent no immediate change
save in appellation.
96 JAPANESE PICTORIAL ART.
The Academy, now known as the Tosa r10, continued to monopo-
lize art-teaching and patronage until the period of the renaissance
of Chinese art in the fifteenth century. While the star of the
Yamato painters was in the ascendant, the influence of the old
Chinese masters had been gradually losing its hold upon the
painters of Japan, except in the section of Buddhist art where the
influence of Wu Tao-tsz’ was still visible in the compositions of
MRIcHO and his followers. But the same prolific age that brought
SzssHit, Saitpun, and Masanosu to revive Chinese teaching, gave to
the Tosa school two of its greatest masters in MITSU-NOBU and _his
son Mirsu-suiet; and the line has continued without interruption
through a long list of talented artists to the present day. Since
this time the Academy has held its position rather as a heritage
than by virtue of any signal achievements. Mrrsv-dx1, the chief
representative of the family in the seventeenth century, and his
great-grandson Muirsv-yosui, in the eighteenth century, were dis-
tinguished by the elaborate delicacy of their drawing and colouring,
and some of the old originality reappeared in Mrrsusapa, the son
of the latter; but with these exceptions, none of the Tosas after
MirsusHick can be specified as the possessors of any striking in+
dividuality, either in execution or invention.

The characteristics of the Yamato style are quite distinctive when

taken collectively, but offer few features of novelty upon analysis.
The main principles of design were those of Chinese art, while the
colouring, at first tender and subdued in tone, became heavier and
more brilliant from the sixteenth century. The drawing was
executed with finer pencils than those used by artists of other schools,
and, though sufficiently firm and delicate, looked feeble beside the
works of the men who had revived Chinese art; but the beauty
of the productions of the Academy was most seriously marred by
the incorrect and ungraceful rendering of the human figure, ex-
emplified in the doll-like imbecility of their portraitures of the lords
and ladies who represented the high culture of old Kioto. This.
mannerism was perhaps rather the fault of a tradition than of any
lack of artistic discrimination ; for the same painters could, on occa-
sion, abandon their formal and rather wearisome illustrations of Court
life to dash off fresh and unconventional sketches, which displayed
all the power of the Chinese School, and all the humour of the
 THE YAMATO AND TOSA SCHOOLS. 97

modern artisan designers; moreover as painters of Butsu-yé they

were unsurpassed until the time of Cad DENSU，
The colouring of the later Yamato-yé was as decorative as the
use of gold and brilliant pigments could make it, and the coloured
areas were so subdivided as to give almost the effect of a brocaded
pattern ; but although the disposition of contrasts was in some
respects at variance with European canons, and the use of a bright
verdigris was perhaps too freely indulged in, the effect as a whole
has much of the rich harmony of the illuminations of the four-
teenth-century missals.
The only marked innovation in the practice of the Yamato artists
was the Asmodean expedient of spiriting away the roof from any
building of which they desired to expose the interior. This licence
appears to have no precedent in Chinese pictorial art.
The favourite motives of the school were drawn from biographies
of famous scholars, priests, or heroes; poetical compositions ; native
or Chinese legends and romances; temple inventories (Yengz); and
ceremonials of the Mikado’s Court. The artists, however, frequently
painted Buddhist pictures, and not only left many sketches of horses,
birds, flowers, and other objects in the simple style of the old Chinese
masters, but often gave loose rein to such quaint fancies as those ex-
emplified in the ‘Night Journey of the Hundred Demons towards
the Rising Sun’ (No. 262), or to outbreaks of sly fun that recall
the inventions of the modern netsuké carver. Nos. 494, 201, 204,
212, and 228, may be referred to as representative specimens of
the various manners. |
The following is a list of the artists of the Yamaro-Tosa
School :—
Taxu-ma Tami-vst. The founder of the “Takuma school,”
which is sometimes distinguished as a special branch of the
Yamato riu, Flourished about 955 A.D.
了 ASUGA Moro-mrrsu. (See p. 95.)
及 ASUGA Mrrsu-cuika, son of Moto-mrrsv.
及 ASUGA Taxa-yosni. The first holder of the office of Kasuga
Yédokoro.
Taxuma Tami-nart. Noted for rapid sketches in the Chinese
style and Buddhist pictures. His paintings of the ‘ Nine
Regions of the Western Paradise’ are still preserved at the
temple of Biodd-in (Uji).
H
98 JAPANESE PICTORIAL ART.

Nanri-mirsvu. <A Court painter, chiefly remembered by a picture

of a cock, that was so life-like as to excite the animosity
of a fowl which had been brought into the room where the
painting was kept. Neither the period nor family of NARI-
mitsu are known precisely, but he is said to have been a pupil
of a priest of Miidéra named K6-at.
Hapa NO Muni-masa. Lived at the end of the eleventh century.

12th century :一
Kasuaa Taka-curka, son of Taxa-yosui. See No. 88.
Kasvuea Mirsu-naaa, son of Taxa-curka. See No. 276.
Ket-on, son of 工 AKA-OHIKA. Known also as SUMI-YOSHI Hocen,
Kasuaa YuxKI-NAGA, son of Taxa-curka. He and his brothers
lived at the end of the twelfth century.
Nosvu-sapa. Noted for paintings of horses.. Flourished about
1110 A.D. .
Taxuma Tami-ro. A retainer of the Emperor Konyé no In
(1142-1155). Painted many Buddhist pictures.
Taxuma Tamé-nisa. Third son of Tami-ro. He was in the
service of Yoritomo in the period Jiuyei (1182-1184).
Taxuma OHO-GA，oF CHOGA Horn. End of twelfth century.
Famous for portraits and Buddhist pictures.
Takuma SH0-Ga, or SHOGA Hécen. End of twelfth century.
Fustwara (or Td) NO Taxa-nosu. Pupil of Taxa-cutma. Died
1205, at the age of 63. Noted also as a poet.
Fustwara NO Kank-rusa. Especially remembered by a portrait
of Hitomaru, painted on the occasion of a festival in honour
of the poet in 1118.
Fustwara No Hipii-uira. Died 1187.
Tarra NO Kryo-mort. The famous regent, under whom was
carried on the long conflict of the Gen and Hei between
the Minamoto and Taira factions. He is said to have been
a skilful painter, and his talent descended to his ene
Died 1181, at the age of 63.
MoRI-SADA SHINNO。 Son of the Emperor Takakura no In (1169-
1180). Illustrated the Sagaromo Monogatar?.

13th century :一
Tosa Tsunt-TaKA, entitled Kasuga Tosa Gon no Kami. Son of
 THE YAMATO AND TOSA SCHOOLS. 99

Mirsu-naca. He was the first of his family to assume the

patronymic of To-sa. Flourished about 1240.
Tosa Kuni-raKa, son of Tsuni-raka. Received the title of
Buzen NO Kami.
Go-k1o-coku Fustwara no Yosui-rsuns. A member of the
household of the Emperor Tsuchi-mikado no In (1199-
1210). Noted for paintings of horses. Died 1206, at the
age of 37.
Taxuma ‘Tamu-yuxt. A retainer of the Shogun Yoritsuné.
Painted many Buddhist pictures.
Takuma Rid-aa, or Héaun Ride.
Tosa Naga-Taka, son of TSUNE-TAKA。 See No. 285.
Tosa Yosui-mitsu, son of Tsunn-TAKA.
Fusrwara no Nosu-zane, son of Taxa-nopu. Died 1265, at the
age of 88. He left a brilliant ‘reputation as a painter of
portraits and other studies from nature. See Nos. 82 and 226.
Fustwara no Tami-rsuau, son of Nosu-zant. Died 1265.
Fustwara no Kori-nosu, son of 工 AME-TSUGU。
Kar Hoxx1é. The true name of this artist has not been traced;
he left a son named Kut-nin, who was also a noted painter.
S6-nixr-mon-In. A female artist, consort of the Emperor Go-
Horikawa no In (1222-1232), who is known by her illustra-
tions of the Genji Monogatari.
14th century :一
Tosa Mirsvu-nr1pn, son of Kuni-TaKa.
ToSA_TAKA-KAN son of MrrsU-HIDZ.
Tosa Naca-agrra, son of NAGA-TAKA.
Tosa Taxa-sukk, son of NaGA-AKIRA.
Tosa TaKa-mori, son of TAKA-KANE,
Tosa Mirsu-axi, son of Yosu1-Mrrsv.
Tosa Yuxt-mitsv, son of MITSU-AKI. Became Kasuga Yédokoro
in 1360.
Tosa NaGa-Harv, son of MITSU-AKI.
Tosa JAKU-SAI, son of MITSU-AKI.
Tosa TaKa-mitsu, son of Mrrsu-axr. Known also as Mimsu
and AWADA-GUOHI Hoarn. See No. 227.
Tosa Suxi-yasu, son of TaKa-suxs.
Tosa YuxKI-HIRo, son of YUKI-MITSTU.
Tosa Mrrsu-suie#, son of Yuxi-mirsv. Became Kasuga Yédokoro
H 2
100 JAPANESE PICTORIAL ART.

in 1390. He must be distinguished from the Mrrsusnict

of the 16th century.
Taxuma Yur-ca. Principally noted as a painter of Buddhist
pictures in the style of Li Luna-yen and Naan Hwot.
卫 N-IOHI-BO SEI-NIN， Known also as Mryo-yit Suontn.
Takuma 有 IO-ZON.
TAKUMA JO-K0. End of fourteenth century.
Fustwara NO TAME-NOBU,， son of 玉 oRE-NOBU. Died 1306.
了 urTWARA NO HIDZE-NOBU,， son of 了 AME-NOBU。
15th century :一
Tosa Mrrsu-xuni, son of NAGA-HARU.
Tosa Mrrsu-Hro, son of YUKI-HIRO，
Tosa YUKI-HIDE, son of YUKI-HIRO。 See No. 227.
Tosa Mrrsu-curka, son of Mirsu-snien.
Tosa Mirsu-suyn, son of Mrrsu-ntro.
Tosa Hrro-cura, son of Yuxi-n1pt. Known also as Mrrsvu-
mocut Krt-go, and Tsunii-masv. He became Edokoro in 1439,
See No. 212.
Tosa Yux1-mort, son of YuUKI-HIDE.
Takuma SHO-KEI.
Masa-tsuau. A pupil of the school who worked in the middle
of the century. Family name unknown.
Supa Kan-suin. Flourished in the period Hikid (1429-41).
Supa Son-Kar. A celebrated artist who has left many pictures
in the Temples of Tédaiji and Kofukuji at Nara. His name is
often mistaken for that of SHIBA Hogen Rinxen. Flourished
in the period Kakitsu (1441-4).
Sura 及 ET-SHUN。 Flourished in the period Bummei (1469-87).
Tosa Mrrgu-nosu, son of Hiro-cura. He became 了 dokoro
in 1496, and died in 15438, at the age of 98. He was one of
the greatest artists of the school, and has left many works
both in the simpler and more elaborate styles, that belong to
the masterpieces of Japanese art.

16th century :—
Tosa Mrrsu-suia1, son of Mrrsv-nosv. He became Edokoro in
1582, and died about 1560. His daughter, Curyo MITSU-HISA，
also an artist, married Kano Moronosv, and followed the
manner of her husband’s school. See Nos. 417-28.
 THE YAMATO AND TOSA SCHOOLS. 101

Tosa Mrrsu-moro, son of Mrrsu-suiat. Died in 1569, at the

age of 29.
Tosa Mrrsu-yosur, son of Mrrsu-suie#. Died in 1613, at the
age of 74.
Nosu-warv, probably of the Taxuma family. He became
Kasuga Yédokoro about the middle of the century.
RIN-KEN Hocen, Supa family. Flourished in the period Yeishd
(1504-1521).
Twa-sa MATA-HEI，a pupil of Tosa Mrrsu-saiaz. He was the
founder of the Ukiyo-Yé riu, or Popular school (q.v.) See
No. 205.

17th century :—
Tosa Mrrsu-nort, son of Mrrsu-yosui1. Died 1638, at the age
of 55.
Sumi-yosu1 Hrro-micut, son of Mrrsu-yosui. Adopted the name
of Sumi-yosat by Imperial command. Died 1670, at the
age of 71. See Nos. 201 and 226.
Tosa Mrrsu-0x1, son of Mrrsu-norr. Died 1691. See Nos. 205a
and 208. ;
Tosa Jaxu-yo, son of Mirsu-nort. Became a priest at Hojuji,
in Settsu, and took the name of K1d-run Oguo.
Sum1-yosur Hiro-zumi, son of Hrro-micut. Died 1705, at the
age of 84.
Kaxvu-suiu Ko-xa, son of Hrro-micu1. Became a priest. Died
1733, at the age of 91.
Tosa Mirsu-nari, son of Mrrsu-dx1. Died 1710, at the age
of 60. See No. 208.
Mrrsu-zum1; named also Do-ton, or To-pa GEN-BEI。 Lived at
_the beginning of the century.
Mirsv-ax1; named also Hana-no. Pupil of YoSHI-MITSU.
Mirsu-Katsu ; named also Naxa-mura. A pupil of Yosut-
MITSU.
Mrrsv-masv. A pupil of Yosui-mrrsv.
Mrrsv-tsuev. A pupil of YosHI-MITSU.
_ Hiro-xartsv ; named also Ka-r0. A pupil of Hrro-micut.
了
HIRO-AKI; named also Suma-pa. A pupil of Hio-micat.
So-ratsv ; named also Tawaraya Kori-rosui. A pupil of Himo-
MICHI, or, according to some authorities, of Kano Yasu-NoBu.
102 JAPANESE PICTORIAL ART.

He was an artist of great originality, and is regarded as one

of the best colourists in Japan. Flourished about 1670.
Sx0-1. Flourished in the period Keiché. (1596-1615.)
Ku-cnr0-sat Honnamt Ko-no0. Pupil of 8d-rarsv.

The three last-named artists departed considerably from the

traditions of the school. Other seceders of note about the end
of the century are said to have been OGA-TA K6-r1, the founder
of the Kérin School (q.v.), and NISHI-GAWA SuxKi-nosu, one of
the leaders of the popular school, who is also claimed as a pupil
of Kano Yurno. An earlier celebrity, Honnamt K6-yersvu, the
grandsire of K0-no, is likewise believed to have been an offshoot
of the Tosa Academy. See Korin school.

18th century :一
Sumi-yosar Hrro-yasv, son of Hrro-zumr. Died 1750, at the
age of 84.
Tosa Mirsv-suxi, son of Mrrsv-nart. Died 1710, at the age
of 35. See No. 206.
SUMIT-YoSHI Hrro-mori, son of Hrro-yasv. Died 1777, at the
age of 72.
Tosa Mirsu-yosu1, son of Mrrsu-suxé. Died 1772, at the age
of 71. See Nos. 207 and 268.
Tosa Mrrsvu-arsu, son of Mrrsu-YosHI Died 1764, at the age
of 80. See Nos. 209, 442, et seg.
Tosa Mrrsu-roxr. Died 1803, at the age of 38.
Tosa Mirsu-sapa, son of Mrrsu-yosut. Died 1806, at the age
of 68. See No. 288.
MATSU-BARA KzI-rTaxv.
Hacut-ya 了及ETI-GA，
Hrao-TroKI; named also Suzu-x1. Pupil of HrRo-MoRI.
Hrro-rurv ; named also Koxo and En-po. Pupil of Hiro-morr.
Hriro-masa; named also Ira-ya Kut-suid. Pupil of Hmo-mort.
Died 1797. See No. 228 et seq.
NAo-YoSHI; named also AwWADAGUOHI Ker-v.. Pupil of Hrao-
mort. Died 1783, at the age of 68.
Moro-xa, or ISHI-YAMA Gon Curunacon. Noted also as a wood-
carver and poet. Died 1734, aged 65. See Nos. 210 and
243.
 THE YAMATO AND TOSA SCHOOLS. 103

19th century :一
Sumi-yosur Hrro-yux1, son of Hrro-morr. Died 1811, aged 56.
Sumi-yosut Hrro-nao, son of Hrro-yuxr. Died 1814.
Sumi-yosut Htro-rsura, son of Hrro-nao. At first bore the
name of Hrro-sapa. Died 1864, at the age of 70. See
No. 214, et seq.
Sumi-yosur Hrro-xata. Still living.
Sumi-yosut Hiro-naca; named also ITA-YA Kut-1. See No, 218.
Tosa Mirsu-atsu. Son of Mrrsu-sapa. Died 1852.
Tosa Mrrsu-xryo. Son of Mirsv-arsv. Still living.
Tosa Mirsu-sumi. Grandson of Mirsvu-roxr. Still living.

Mortves.—Amongst the motives more especially illustrated by the

Yamato School, and represented in the Collection, are a few demand-
ing a longer notice than can well be appended to the enumeration of
the individual paintings. These are the Genji Monogatari, the Sumi-
yoshi Monogatari, the Story of Urashima, the Story of the Mugé-
Hojiu Gem, the Adventures of Raiko and his companions, and
the history of the lives of Yoshitsuné and Benkei. The Takétori
Monogatari and the Sagaromo Monogatari, although of great lite-
rary interest, are less frequently the subject of art works than the
romances first named, and, not being represented in the collection,
will not be further alluded to. A review of Japanese literature
from the pen of Mr. Satow, contributed to the American ‘ Cyclo-
pedia,’ may be referred to for more extended details.

The Story of the Mugé H6-jiu Gem, is thus related in the

illustrated volume, No. 491 of the Collection
:一
Taishokkwan Kamatari was a Kugé of high rank who lived in
the seventh century. His daughter had become the consort of
the Chinese Emperor Tai Tsung (627-650 a.p.), and being desirous
of founding a temple in her native land, collected a multitude
of rare objects, which she despatched to her father under the care of
a trusted retainer named Manko. Amongst the most precious of her
gifts was a famous sacred jewel, called the Mugé Hojiu. The renown
of this offering spread far and wide, penetrating as far as Riugu,
the submarine realm of the Dragons; and the Dragon King, stung
by envy, summoned to his aid the King of the Asuras, that he
might secure the treasure for himself.
104 JAPANESE PICTORIAL ART.

The vessel bearing the priceless gem had reached a place called
Chikura ga Oki, between China and Japan, when it was furiously
attacked by a demon horde. But Manko undauntedly armed his
men and fought with the hellish foe till the whole army was put to
flight. The victorious ship then sailed on towards its destination, and
at length had nearly gained the shores of Shikoku, when its course
was intercepted anew. A log of strange appearance was seen
floating upon the waves, and the sailors, urged by curiosity, took it
on board and cut it open, revealing within its hollow a woman
richly attired and of surpassing beauty. Manko took charge of the
mysterious waif, and for a time treated her with due respect; but
adverse winds arising, all onward progress was checked during ten
long days. In this fatal interval of enforced inactivity the leader’s
idle thoughts strayed towards his fair guest, and he began to seek
her favour. His addresses were met by artful resistance and false
scruples of religion, and his passion was aggravated by delay, until,
to gain his end, he lent ear to a request of his temptress to betray
his trust, and allowed her to behold the Precious Gem. ‘Three days
after the desecration of the shrine both the woman and the jewel
had vanished ; for the siren was an emissary of the Dragon King,
and had succeeded by wiles where force had proved unavailing.
Manko sailed on to Japan, to lay his confession at the feet of his
master.
Kamatari, overwhelmed by the news, could not shake off the
thoughts of his loss, At length he quitted the capital and went to
Fukazaki, near to the place where the jewel had disappeared, and
tarried there in retirement, telling no man who he was. After a
time he met with a female diver of great beauty, and, falling in
love with her, he made her his wife. For three years the pair
lived happily together till a child was born to them, and then
Kamatari thought fit to disclose the secret of his rank. The
revelation bowed down with shame the mother of hig infant, for she
knew that a poor fisherwoman could never be a mate for so great
a lord, and since her marriage was void, she determined to end
her bitter existence by self-destruction. Kamatari, finding himself
powerless to alter her resolve, told her of the loss of the jewel,
and prayed her to attempt the recovery of the treasure rather than
to sacrifice her life uselessly. Without a word she sprang into the
sea and the waves closed over her. . . . Hour by hour he watched
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 THE YAMATO AND TOSA SCHOOLS. 105

for her return, and day succeeded day; at last, as the sun was
declining for the seventh time after her departure, she suddenly
appeared before him, exhausted and despairing. She had returned
empty-handed ; for the jewel, preserved in the realm of the Dragon
King, was guarded by fierce monsters, and could not be approached.
Kamatari, after long thought, devised a plan to decoy the Dragons
from their charge while his wife made a second effort, and, fitting
up a ship with flags, he placed a chosen choir upon the deck.
Sacred strains soon resounded over the waves and penetrated to the
habitation of the Dragons, who piously gathered from all sides to
pray in unison with the notes that vibrated in their ears. The
time had now come for the faithful woman, who, arming herself with
a sharp blade, and setting a light-giving crystal in her hair, bound a
rope around her waist and plunged into the sea. ‘Thousands of ri’
she swam beneath the waves, her path illumined by the radiant
stone, until she reached the now deserted shrine. She seized
the Precious Gem and hastened to return, striking out vigorously in
the direction of the ship. Her task was nearly accomplished, and
the expectant sailors hailed her approach, when a dragon, a hundred
feet in length, perceived her rapid flight through the waters, and
darted like an arrow in her wake. The heroine defended herself
with the sword, but the poisoned fangs of the monster were fixed
in her flesh, and Kamatari’s retainers drew up only the corpse of
their master’s wife.
Kamatari gazed sadly and despairingly upon the mutilated frame
of the brave woman who had given up her life for him, no thought
of the object of her enterprise arising in his mind, when suddenly he
perceived in her bosom a gaping self-inflicted wound, and gleaming
in its depth lay the precious jewel, where the heroine had concealed
it, that her husband’s wish should not be frustrated by her
destruction.
The object so dearly bought was fixed in the brow of the image
of Sakyamuni in the temple of Kéfukuji, and remained the peerless
Treasure of the Three Countries (India, China, and Japan).

The Story of Urashima, as told in the Makimono, No. 281], is

to the following effect. Once upon a time a man, named Urashima,
captured a Tortoise, by the shore of Fjima, in the province of
Tango, but, unwilling to cut short the hundred centuries of exist-
106 JAPANESE PICTORIAL ART.

ence allotted to the sacred animal, restored it to the sea. Returning

to the same spot on the following day, he saw a boat tossed about by
the agitated waves, and in it, alone, a beautiful woman. The dis-
tressed stranger called to him, and besought his aid, saying that all
her friends had perished in a storm, and she alone survived, cast away
far from her native land. Urashima pitied her misfortune, and
promised to convey her to her home. During an entire day he
rowed seaward under her direction, and at length reached the
Dragon Kingdom of Riugu, where he found a palace to receive his
rescued princess, and a reward in the person of the grateful lady
herself. For three years he forgot all else in the charms of his
wife and the marvels of her mystic realm, but at length thoughts
of his home arose, and he yearned to see again the parents he had
left to mourn his loss. He begged that he might return for a time
to his beloved Tango, but his wife wept, and telling him that she
was the sacred Tortoise whose life he had spared, sought to dissuade
him from quitting her. After long opposition she yielded to his
entreaties, and allowed him to depart, giving him, as a memento
of their bond, a casket, with an injunction that he must never
venture to open it if he desired to see her again.
He returned to the shore of 了 jima by boat, as he had left it,
and soon reached the place of his birth ;* but all seemed strange to
his eyes, and of family and friends no trace could he find, even in the
recollections of the strangers who had replaced them. At last
an aged man, in reply to his questions, told him that a family
bearing the name of Urashima kad lived there seven hundred years
before, and pointed out to him a tomb erected to the memory of the
last of the line—the inquirer himself. Urashima, dazed by these
revelations, thought no longer of the injunctions of his wife, but
tore open the casket, in the hope of finding some clue to the
mystery, when from its interior escaped a purplish vapour which
slowly rose into the air, and, as the last wreath was dissipated,
Urashima’s face of thirty-five summers changed its aspect. His
wife had enclosed in the box the seven centuries of life which had
passed away as three short years of dalliance in the palace of Riugu,t

* The date of the return of Urashima is fixed by chronological works in 825 a.p.
+ In some versions the Dragon Kingdom, as the place of the hero’s long abode,
is substituted by Mount Horai, the haunt of the Genii; and the seven centuries of
absence are abbreviated to three.
 THE YAMATO AND TOSA SCHOOLS. 107

and his mortal existence evaporated with the impalpable cloud,

leaving his human frame translated into the form of a Crane. The
ancient bird rose on its pinions and soared through the skies
towards Mount Horai, the home of the Genii, and there was joined
by the Tortoise, to pass in companionship ten thousand years of
joyous life.
“Urashima tard was canonized in his native province as Ura-
shima Mis-jin, and the Tortoise appeared at the same place as a
goddess. It was indeed a happy story.”
The transformation of Urashima into a crane is a variation from
the original narrative, which ends by representing the youthful
frame of the wanderer withering into extreme old age as the
mysterious essence evaporated from the open casket, and sinking
helpless to the earth to die while the last eddying wreath melted
away. ‘The simple version, as translated by Mr. W. G. Aston from
the Man-yé-shiu,* is more effective than the later elaborations
of the story. (See Aston’s ‘Grammar of the Japanese Written
Language,’ Appendix, p. xvii.)
The legend presents strong points of resemblance to that of Rip
Van Winkle, but some narrations to be found in Chinese literature
of perhaps more ancient date, offer a much closer resemblance to the
tale given to the European world by Washington Irving. The true
original of Rip was Wang Chih (see Mayers’ ‘Chinese Reader’s
Manual,’ p. 1, No. 794) who is followed by the two sages Yian Chao
and Liu Ch’en (see Mayers, p. 1, No. 959); and a comparatively
modern writer, many of whose works have been translated by Mr.
H. A. Giles, under the title of “Strange Stories from a Chinese
Studio,’ has utilised the same idea.
Wang Chih (Jap. Oshitsu) was a patriarch of the Taoist sect who
was supposed to have lived under the Tsin dynasty (third cent. B.c.).
The story is thus told by Mayers: “It is recorded of him that...
having wandered in the mountains of K’i Chow to gather firewood,
he entered a grotto in which some aged men were seated intent
upon a game of chess. He laid down his axe and looked on at their
game, in the course of which one of the old men handed to him a
thing in shape and size like a date stone, telling him to put it in his
mouth. No sooner had he tasted it than he ‘became oblivious of
* The Manydshiu is a collection of poems extending over the period from the
fifth to the ninth century.
108 JAPANESE PICTORIAL ART.

hunger and thirst.’ After some time had elapsed one of the players
said: ‘It is long since you came here; you should go home now!’
Whereupon Wang Chih, proceeding to pick up his axe, found that
its handle had mouldered into dust. On repairing to his home he
found that centuries had passed since the time when he left it for
the mountains, and that no vestige of his kinsfolk remained. Re-
tiring to a retreat among the hills he devoted himself to the rites of
Taoism and finally attained to immortality.”
The second tale is of similar character, but approaches the Tann-
haiiser group in its details.* It is narrated that Yiian Chow
(Jap. Genkei) and his friend Liu Ch’én (Riushin), two scholars of
the first century a.p., once lost their way in the T’ien t’ai mountains,
and “after wandering about for many days were at length guided
by accident to a fairy retreat among the hills, where two beauteous
sisters feasted them on the seeds of the hemp plant, and admitted
them to share their couches. Returning at length to their homes
after what had seemed a brief period of dalliance, they found with
dismay that seven generations had elapsed since they left their
homes.”
A similar narration, also drawn from Chinese sources, appears in
the E-hon riozai. A man named Ro6kid, who had from his childhood
studied the medicinal properties of plants, once met three ancient
men while wandering in search of herbs. They addressed him, and
claiming an acquaintance on the score of a community of names,
invited him to pay them a visit to examine the life-giving drugs
which they had the secret of preparing. He accepted the offer,
tasted the potions which his hosts laid before him, and after
passing two days in their company took leave of them to return to
his dwelling. When he reached the place where he expected to find
his home he saw only a cultivated field. He inquired in vain after
his family, until at length a man of fourscore years, living in a
distant place, identified him as an ancestor. It was two centuries
since he had set out for his memorable botanizing excursion.
The sequel to the story is that Rokio taught his descendant the
secrets of longevity, and enabled him also to enter the ranks of the
Genii.
* A Swedish story, recorded in ‘Curious Myths of the Middle Ages,’ bears a very
close analogy to the legend here related.
 THE YAMATO AND TOSA SCHOOLS. 109

Yorimitsu and the Demon-Spider.—The main features of

the well-known story of Yorimitsu and the Spider, as related in
the Roll, are as follows. Once upon a time Minamoto no Yori-
mitsu* left Kioto with Tsuna, the wisest of his squires. While
crossing the plain of Rendai they saw a skull arise in the air and
fly before them as though carried by the wind, and, curious to
know the meaning of the phenomenon, they followed it until it
disappeared at a place called Kagura ga Oka. Here they found
a@ mansion in ruins, and Yorimitsu passing into the dilapidated
entrance beheld an old woman of weird aspect and bearing.
“She was dressed in white, and had white hair; she opened her
eyes with a small stick, and the upper eyelids fell back over her
head like a hat; she then used the rod to open her mouth,
and let her breasts fall forward upon her knees.” The strange
tenant was garrulous, and told Yorimitsu that she was 290 years
of age and had served nine masters, and that the place was
governed by demons; ending with plaintive utterances upon the
flight of time. The hero, not caring to hear more, passed on
into the kitchen, and looking out at the sky, saw that night
approached and a great storm was gathering in the heavens.
Presently were heard sounds as of advancing footsteps, mingled
with beating of drums, and there suddenly trooped into the
building a countless multitude of goblins (bakémono) of curious
shapes. Yorimitsu waited in suspense, and in a short time a
being dressed like a nun appeared before him. She had a little
body, naked to the waist; her face was two feet in length, and
her arms were white as snow and thin as threads. The hero
looked fiercely at the creature, who laughed at him and vanished
like a mist. Soon after the cock was heard to crow, and Yori-
mitsu thought that the ghostly visitors would trouble him no
more; but he was wrong, for the sound of footsteps again struck
his ear, and there entered to him a woman “ beautiful as YOkihi
or Ri-fujin (Yang Kwei-fei and Li Fu-jén), with a shape more
graceful than the willow branches as they wave in the breezes

* Minamoto no Yorimitsu, or Raikéd, a court noble of the tenth and eleventh

centuries, was the hero of more adventures than fell to the lot of any of the
Seven Champions of Christendom. His most memorable feat was the destruction
of the Shiuten-ddji (see No. 388 ef seg.) in 947 a.p. He died at an advanced age
in 1021,
110 JAPANESE PICTORIAL ART.

of spring.” As he gazed upon her his eyes became dazzled, and

ere he was able to recover his sight he found himself enveloped
by countless threads of cobweb. Starting up, and dragging her
after him, he struck at her with his sword, when she suddenly
disappeared, and he found that his weapon had cut through the
floor planks and had broken the foundation stone beneath. At
this moment he was joined by Tsuna, and they perceived that
the sword was covered with white blood, and that its point was
gone. They followed the gory track, and at length came upon
a den in which they saw a monster with many legs, and a head
of twenty-five feet in length, covered with downy hair like cotton
fibre. Its eyes shone like the sun and moon, and it was groaning
aloud, “I am sick and in pain.” As they drew near they saw
by the figure a shining object, which Yorimitsu recognised as the
broken point of his sword. The heroes then breathed a prayer to
the gods, and seizing the creature, dragged it out of its retreat,
and cut off its head. On examining the body they found in the
abdomen a deep gash that had been made by Yorimitsu’s sword,
and out of the gaping wound there gushed nineteen hundred and
ninety human skulls, and many living spiders as large as children
of seven or eight years of age. ‘Then comprehending that the
monster was a Mountain Spider, they laid open the huge carcase,
and there, within the entrails, were revealed to their horror-stricken
gaze the ghastly remains of a score of human corpses.
The story concludes with a relation of the burial of the relics of
the victims, and a specification of the rewards conferred upon Yori-
mitsu and Tsuna by the Emperor.
“These pictures were painted by Tosa Nagataka, and were kept
in the possession of Prince Katagiri. The story was written by
Kenko Hoshi, and a copy of it was preserved in the family of Kano
Kansen.
“Copied by Imamura Zuigaku, in the 5th month of the 3rd year
of Ansei (1856).”
In the more current story the demon spider afflicts Yorimitsu
with a severe and mysterious illness. One night the monster
manifests itself in the form of a priest, and casts a web around the
sick man, who, however, springs up and wounds his tormentor.
The spider is traced to its lair by the blood, and is there despatched
by the retainers of Yorimitsu.
 THE YAMATO AND TOSA SCHOOLS. 111

The story of Yorimitsu and the Shiuten-doji is omitted, as the

main details are comprised in the description of the drawings, Nos.
383 to 416, and it has moreover been the subject of a recent paper of
great interest read before the Asiatic Society by Mr. F. V. Dickins
(Trans. As. Soc. 1884). The early history of the medieval robber
monster as told in the scrolls, Nos. 269-271, may be quoted as a
supplement to the more familiar legends.
In ancient times there lived in the province of Omi a man
named Ibuki Yasaburo, the son of the lord of Ibukiyama, and
he was married to the daughter of one Onoki, a noted person
in the same part of the country. Yasaburd was of handsome
presence but deformed in mind, and abandoning himself entirely
to gluttony and drunkenness, scrupled not to rob the people of
their possessions for the gratification of his wicked appetites.
At length by dint of evil-doing he became hated beyond measure
by all mankind, and Onoki, fearing still greater wrongs to gods
and men, determined to put an end to the existence of his unworthy
son-in-law; a purpose which he effected while the besotted wretch
lay helpless in the stupor of intoxication.
Shortly afterwards the wife of Yasaburd gave birth to a son,
and the features of the infant bore strong resemblance to those
of hig father. Onoki, foreseeing that he would inherit the vicious
disposition of his sire, counselled that he also should be despatched,
but the mother rejected the advice with indignation, and nurtured
the little one tenderly. The boy however began in his earliest
days to manifest not only insatiable voracity and cruelty to man
and beast, but craved after saké with an ardour that procured
for him the name of the Shiuten-ddji, or the great drunkard boy.
By the time he had reached his seventh year he had made his
presence so execrable to all around him, that his mother learned
to regret her past affection, and taking him to a valley in the north
of Mount Hiyoshi, there abandoned him to his fate.
Left to his own resources, the boy, instead of falling a prey to
starvation or the attacks of wolves and foxes, preserved his life
by eating fruits and afterwards the flesh of such animals as he
was able to destroy, and while he waxed daily in strength and
stature his countenance began to assume a strange and terrible
aspect. After a while he changed his place to Mount Obimé-no-
miné, but, expelled thence by the god Ni-no-miya Gongen, he
112 JAPANESE PICTORIAL ART.

betook himself to Kinséki in Hidé-no-yama, where he established

his lair in a cave, and there appeared about him in a mysterious
way a number of fearful beings who paid blind obedience to his
commands. Detested by Buddha and all the gods, again was he
driven forth from his den, and with his hellish crew fled to Ohiyé
yama. This mountain was so high that the birds were unable to
wing their way to its summit, and the valley was so deep that no
man could penetrate its gloomy recesses; and here he made another
cave, and guarded it from attack with gates of stone hewn out of
the solid rock. From the stronghold so provided he would issue
forth daily in all directions to rob men of their treasures, and to
ravish from their homes beautiful damsels whom he compelled
to serve as hand-maidens to his lawless desires. Thus did the
haunt grow in ill repute, until it was known far and wide by the
name of Onigashima, or the Island of the Devils.
But the mount of Ohiyé was under the especial protection of
Yakushi Niorai, who had appeared in Japan under the appellation
of Ni-no-miya Gongen, and the god assuming the guise of an
aged man showed himself upon the infested heights to warn the
desecrating band. Then Shiuten doji fearing his vengeance, hastily
evacuated the place of vantage with his demon horde.
Their next centre of operations was a place of great natural
strength, called Nishigaka, where, after constructing a cavern of
great size, they resumed their depredations, and sacrificed the lives
of all kinds of animals to satiate their unhallowed lust of flesh.
Now there was a holy priest named Saisho Hoshi, afterwards
known as Dengid Daishi, who had acquired great learning, and
had perfected his knowledge of the innermost mysteries of
Buddhism during a sojourn in China. Upon his return to Japan,
in the reign of the Emperor Kashiwabara no Mikado (Kwammu
Tennd, 782-806 a.p.), he persuaded the monarch to authorize
the erection of a temple on the north-east side of the new capital
of Kioto, to protect the land and ensure its fertility. Ascending
Mount Higashiyama in search of a fitting locality, his ears were
struck by the accents of a voice reading from a sacred book, and
in tracing the sound he discovered that it proceeded from the
bowels of the earth. He accepted this miracle as an omen, and
fixed upon the spot ag the divinely-appointed site for the holy
edifice.
 THE YAMATO AND TOSA SCHOOLS. 1138

The Shiuten ddji, dreading the proximity of the temple, deter-

mined to oppose the work of construction, and by an exertion of
magic power caused a dense grove of giant trees to spring up
in a single night over the ground marked out by the Daishi, so
that when the workmen came to begin the erection they were
unable to clear the space. The Daishi seeing what had occurred,
prayed to Buddha, and the fictitious vegetation melted away into
thin vapour and disappeared. He then achieved the building of a
gorgeous temple and three pagodas upon the chosen site.
The work completed, he retired to Hiyei-no-také, and composed
a poem, and there was vouchsafed to him a miracle, the sun, moon,
and stars appearing together in the heavens, and before his eyes
becoming transformed into an image of the Holy Buddha Amida.
The Emperor, who was of one common mind with the Daishi, gave
to the mountain the name of Hiyeizan, and the temple became
known as Enriakuji from the name of the period (Enriaku,
782-806 A.D.) in which it was constructed.

The Genji Monogatari, one of the earliest of the Japanese

romances, was written about the end of the tenth century by
Murasaki Shikibu, a maid-of-honour to the lady who afterwards be-
came the consort of the Emperor Ichijé. It consists of fifty-four
chapters, the first forty-one relating to the life and adventures of
Prince Genji, the rest, of which ten are supposed to have been added
by the daughter of the authoress, referring principally to the career
of one of his sons. The period of time covered by the whole story
is about sixty years, and the scenes are for the most part laid in ©
Kioto. (See translation by Mr. K. Suyematz, from which these
particulars are abstracted.)
The work is probably not a pure fiction, but describes actual
events and real personages, veiled by change of names and embel-
lished by poetical invention. It is chiefly personal, and, in its
references to leading characters of the society of the time, is in some
respects comparable to the ‘New Atalantis’ of Mrs. Manley; but,
happily for the credit of old Japan, its scandal is devoid of the
malice and coarse indecency of this unpleasant page of the secret
history of our own country, and displays a refinement of sentiment
altogether beyond the conception of the bed-chamber Clio of the
seventeenth century.
I
114 JAPANESE PICTORIAL ART.

The early chapters are devoted entirely to the amorous intrigues

of the hero, Genji, a son of the Emperor, who is distinguished by
his accomplishments as a poet, musician, and artist, and his now
proverbial beauty. Married to a lady of his own rank, he neglects
her to flutter about the capital, flirting and intriguing with every
woman who pleases his fancy, without embarrassing his proceedings
by any scruples on the score of fidelity. Despite his many liavsons—
one of which, with the young wife of his aged sire, is sufficiently
startling—a strong current of kindliness and good nature inter-
mingles with the incidents of his Don Juan-like career; and the
description of his paternal care of a little girl, whom he adopts in
consequence of her likeness to his beloved but then lost Empress; and
of his delicate and generous attention to a reduced gentlewoman,
whose nose, “high and long, while its peak a little drooping, was
tinged with red,” reminded him of the red lily trunk of the
Elephant of Samantabhadra, wins more than our forgiveness.
The story. is replete with striking pictures of the customs,
fashions, tastes, and morality of the period, relieved by many
artistic touches of poetry and not a few twinkles of fun; but its
chief interest lies in the valuable information that is to be gleaned
from its pages as to the condition of the arts and sciences in the
tenth century. One other remarkable point for notice is the evi-
dence of the position of regard which women appear to have
enjoyed in that day as compared with their dependent status in later
times. There is, indeed, demonstrated in this, as in other matters
touched upon in the book, a strong infusion of habits of thought.
more in accordance with the tone of modern Europe than with that
of modern Japan.
For illustrations see Nos. 268 and 282-3.

The Isé Monogatari dates from the tenth century, and is attri-
buted to the Emperor Kwazan no In (b. 968, d. 1008). It consists
merely of a brief account of the amours, travels, and adventures
of an unknown hero, designated as “a certain man,” who is sup-
posed to represent the famous poet Narihira; but who may be
only the impersonal “ Somebody” proposed by Mr. Andrew Lang as
a substitute in legendary lore for solar myths and prehistoric
celebrities. As a story it can boast little incident and no plot;
but it is characterized by the frequent introduction of curious
 THE YAMATO AND TOSA SCHOOLS. 115

stanzas of an amatory type, and by the subdivision of the work into

diminutive chapters, each of which begins with the expression, “ Once
upon a time.” A translation has been published by Dr. Pfizmaier
(Aufzerchnungen aus dem Reiche Isé. Wien, 1876). See No. 325.

The Sumiyoshi Monogatari (see Nos. 264-6) is of uncertain

authorship and date. 一 The composition is thus analysed by Mr.
Satow, in his article upon ‘Japanese Literature’ in the American
Cyclopedia (vol. ix. p. 874) :一
“The story is that of a young girl, the illegitimate daughter of a
nobleman who has two other daughters by his own wife. When
the heroine is about eight years of age her mother dies, after
earnestly praying her lover to send her child to the palace to
become one of the Mikado’s waiting women. He takes her to live
in his own house in separate apartments, and the affection he
displays excites the hatred of her stepmother. After a while the
heroine’s foster-mother also dies, and she is left alone with her
foster-sister, a girl two years older than herself, through whom she
enters into a secret correspondence with a young nobleman who has
fallen in love with her from report of her beauty. The father con-
stantly speaks of sending her to the palace, which excites the
jealousy of the stepmother, and her ruin is determined upon. With
a hypocritical affectation of concern the stepmother tells her
husband that she has seen a priest get out of his daughter’s window
at dawn, and when he refuses to believe this, she conspires with a
wicked maid-servant and bribes a priest to come to the house and
play the part of a detected lover. Upon this he is convinced,
upbraids his daughter, and orders her to marry a man of rank whom
she does not know; but rather than disobey she is ready to consent.
When the stepmother finds that she has been so far successful, she
_ plots again to have the object of her hatred stolen away by a horrid
old man, whose lust is inflamed by the promise of a beautiful girl
for his mistress; but the plan being divulged to the young girl and
her foster-sister by a friendly female servant, they make up their
minds to flee to Sumiyoshi, where the late nurse of the dead foster-
mother is living as a nun. This they accomplish successfully, and
the author takes advantage of this opportunity to introduce some
very effective descriptions of seaside scenery. ‘The lover is despe-
rate and resolves to become a hermit, but the hiding-place of the
12
116 JAPANESE PICTORIAL ART.

young lady is revealed to him in a dream, and he proceeds in search

of her. Having found her out, he disguises her as a peasant girl
and brings her back to Kioto, where they are secretly married and
have two children. The father is disconsolate at the flight of his
daughter, but after seven years is invited to a feast by the young
noble, and discovers in his wife his own long lost favourite. Upon
this the wickedness of the stepmother is revealed; she suffers the
penalty of her misdeeds by dying in misery and want. All the
partners of her guilt are duly punished by avenging fate, and the
father retires from the world, while all the good people in the
story have their reward.”
It will be observed that the plot is simplicity itself, and with a
few alterations in names and local colouring might appear as a story
of medieval European life, while its termination is marked by an
ideally perfect distribution of rewards and punishments that con-
trasts strangely enough with the triumph of strength and cunning
which closes the real story of Yoshitsuné.
The charm of such compositions for the Japanese lies not in
stirring incident, but in the choice of language and the simple but
forcible descriptions of scenery and natural objects. The modern
novel, as typified by the writings of Bakin, evidences a greater
fund of invention than the classical work, but is wanting in the
marks of culture and refinement that alone can recommend it to
the appreciation of the more highly educated native readers.

The Life of Yoshitsuné (see Nos. 485 and 1702).—Many of the

facts concerning the hero Minamoto no Yoshitsuné will be found in
Griffis’ ‘ Mikado’s Empire’ and Rein’s Japan, nach Reisen und Studien
dargestellt ; but the most complete account of his life is contained in
an untranslated work called the Gi-kei-ki, a copy of which is in the
MS. department of the British Museum.
He was the eighth and youngest son of Yoshitomo, who was killed
in 1160 in the war against the Tairas; and half-brother of Yoritomo,
the first of the Shoguns and founder of the city of Kamakura. In spite
of his brilliant services against the rival Taira clan, who were at
length annihilated at the battle of Yashima, he fell under the sus-
picions of Yoritomo, and after many cruel persecutions finally died
by his own hand in 1189, at the early age of thirty.
The story is told in the Gi-kei-ki with pathetic simplicity, and
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brings out in remarkable prominence the features of the curious

chivalry of old Japan. There is little of poetic justice in the
dénotiment, except in the fate of the false Yasuhira, who had
betrayed his friend and guest Yoshitsuné, but was in requital
crushed by his suborner Yoritomo; for the brave and blameless
hero, with his little band of staunch adherents, and the innocent
women and children attached to his cause, perished miserably,
while the unscrupulous ambition of Yoritomo and thé mean envy of
Kajiwara, the Iago of the history, bore all the fruits of success.
It may be added that the death of Yoshitsuné in 1189 is a
matter of dispute. It has been averred that he escaped to Yezo,
and there earned the reputation of a god amongst the Ainos, who
venerate his memory to this day. It is at least certain that the
corpse, if recovered at all from the ruins of the burned castle where
he is supposed to have fallen, could scarcely have been in a recog-
nizable state, and hence the head sent to Yoritomo by Yasuhira may
have been taken from some other victim. According to another
view, Yoshitsuné is identified with Genghis Khan, but there is
nothing to support this conjecture beyond a certain coincidence of
dates and some ingenious manipulation of names.
Most of the episodes illustrated by artists are referred to in the
account of Benkei, The following may be added to complete the
list :一
1. The young Yoshitsuné learning the art of fencing from the
Tengus (sylvan spirits, half bird, half human). The Tengu king
is seen looking on, superintending the trial of skill. The youth is
sometimes depicted riding upon the back of a Tengu to the place of
meeting.
2. Fighting at the battle of Yashima.
3. The night attack upon the palace of Horikawa. Yoshitsuné
being armed by his concubine Shidzuka, who had discovered the
intentions of the besieging party, and prepared the adherents of her
lord for resistance.
4, His suicide, which was accompanied by the slaying of his wife
and son, who had begged that they might die with him. His infant
daughter was killed at the same time.

The Story of Benkei (see Nos. 462 to 485). — Benkei, the

famous adherent of Yoshitsuné, is familiar to every Japanese child as
118 JAPANESE PICTORIAL ART.

an example of strength and fidelity. He was a scion of a noble

family, who had placed him while yet a child as a novice in the
monastery of Hiyeizan; but as he grew, his violent disposition and
remarkable physical powers procured for him the expressive name of
“ Oni-waka,” or the Young Devil, and the fear and hatred of his
associates. He at length quitted the temple, and became a highway
robber.
He appears to have been a formidable fellow. “Eight feet in
height, strong as a hundred men, with face black as lacquer, and
always armed with an iron bar, in addition to seven other weapons
in reserve upon his back.” His powers were destined, however, to
serve a noble end, and his career of villany was at length brought to
a close by an encounter with an adversary who proved more than his
match, an effeminate-looking stripling, whom he had mistaken for
a fit subject to supply his thousandth stolen sword. This youth
was Yoshitsuné. Instead of yielding his blade, he fought with
the giant on Gdjo bridge, and by the exercise of marvellous activity
and address made him sue for quarter. Benkei, struck with admira-
tion for his conqueror, attached himself with dog-like fidelity to his
fortunes, till he fell fighting in his cause at the castle of Takadachi,
in Oshiu, in 1189.
He is an especial favourite of the more modern artisan artists,
but the Tosa and Kano painters have also left many illustrations
of his life.
The following are the principal conditions under which he appears
in pictures :一
1. His fierce head, with large rolling eyes, is one of the most
common decorations for children’s kites.
2. As Oni-waka, assaulting the priests of Hiyeizan.
3. Carrying away the great bell of Miidéra.
The story runs that Benkei stole the gigantic bell from the
temple of Miidéra, and carried it a distance of some miles to the
rival monastery of Hiyeizan. The treasure was appropriated
without scruple and suspended in a belfry, but to the disappoint-
ment of its wrongful possessors, the mighty tones that once resounded
far and wide in prolonged and sonorous cadence, refused to utter
aught but a weakling note that ever seemed to whimper the wish to
go back to Miidéra. At last Benkei became disgusted with this
extraordinary behaviour, and east the bell down from Hiyeizan into
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the valley, whence it was recovered by the monks of Miidéra and

taken to its former home, regaining there its old voice with its old
associations. The legend is related in the ‘Guidebook for Japan’
(p. 82), and in Griffis’ ‘ Japanese Fairy World.’
4, His first meeting with the young Yoshitsuné.
5. Fighting with Yoshitsuné on Gojo bridge. The difference
between the physical proportions of the combatants is often so far
exaggerated that Yoshitsuné may appear balancing like a marionette
upon the end of Benkei’s spear. The author of the Gi-kei-ki
commemorates the agility of Yoshitsuné on this occasion, by telling
us that the hero, while leaping down from the parapet of the bridge,
sprang back again in the midst of his descent—before touching the
ground—to avoid a sweeping blow from his adversary’s spear.
6. Bringing Tosabd, Yoritomo’s emissary, by force before Yoshi-
tsuné, whose life he had been hired to destroy. |
7. Writing a notice, by order of Yoshitsuné, to protect from injury
by wayfarers an ancient plum-tree at Amagasaki in Settsu, that
had been the subject of a famous poem by the Emperor Nintoku
(813-319 A.D.).
8. Travelling with Yoshitsuné and his party, all attired as Yama-
bushi, or wandering priests.
9. Reading a supposed authority from the noted Bishop of Hokdji
to collect alms for the building of a new church, in order to lull the
suspicions of the guard at the gate of San-no-kuchi. This expe-
dient, aided by a buffet to Yoshitsuné, who was by his side in
similar disguise, enabled the little band to escape arrest. The story
is told in the ‘ Mikado’s Empire,’ p. 206.
10. His death. He died pierced by numberless arrows, but “ his
form remained erect after his soul had fled.”
120 JAPANESE PICTORIAL ART.

YAMATO-TOSA SCHOOL.
一 一 一人 一 一-一

201 2，and 3. A set of three Kakémonos, on paper, painted in

monochrome. Size, 28} x 107.
1. Fukurokujiu. (See p. 30.)
The usual figure, but with the attributes of the fan and stag
commonly assigned to Jurdjin.
2. Bird and waterfall.
3. Mandarin ducks, and lotuses.
Painted by Sum1-yosu1 Hiro-micut Seal. Certificate by
Sumiyoshi Hiroyuki, dated Kwansei, the 4th year (1792).
Seventeenth century.
204. Kakémono, on silk, painted in colours. Size, 37 % x 154.
Saigio Hoshi at Kita Shirakawa.
Saigis, in the dress of a travelling priest, with a staff and a very
large hat, stands in a listening attitude at the gate of a mansion,
The perspective exposes the interior of a room, on the floor of
which is seen a musical instrument (biwa). An inscription in
grass characters appears at the upper part of the picture.
Painted by To-sa Mrrsu-nart. Signed To-sA Sao-Roxu No
GE SAKU-yi SHocen Fusi-wara NO Mrrsu-nant, Seal. Seven-
teenth century.
Sat6 Hioyé Norikiyo—better known as Saigio Hoshi—was the seventh
in descent from the famous Tawara Toda Hidésato, the slayer of the great
Centipede. He held office in the Court of the Emperor Toba, but in the
third year of Hoyen (1137) he abruptly abandoned his home, leaving his
wife and daughter, and became a priest. Under the names of Eni and
Saigid he travelled through various parts of Japan for self-discipline
until scarcely a place remained that he had not explored. He is cele-
brated as a poet, the most familiar of his compositions being a verse upon
the Peerless Mountain (see E-hon Koji dan, vol.i.). He died in 1198 at
the age of 73.
He is generally drawn in the guise of a travelling priest, with a large
hat and a long staff ; and school-boys are fond of sketching “ Saigio mi Fuji,”
or Saigid gazing at Fuji, by means of two lines meeting at an angle above,
to represent™the outline of the Peerless Mountain; a circle for Saigid’s
hat, which conceals the rest of the figure; and a line projecting above it
 YAMATO-TOSA SCHOOL. 121

to stand for the end of the pilgrim’s staff—a comprehensive simplicity of

design equalled only by that of Hogarth’s picture of a soldier and a dog
passing through a doorway.

205. Kakémono, on silk, painted in colours. Size, 122 x 8.

Ono no Komachi.
Attributed to Iwa-sa MATA-HEIL No signature or seal.
Sixteenth century.
Ono no Komachi, one of the noted characters in early Japanese story,
is supposed to have lived in the ninth century, during the halcyon days
of the court of Kioto. It has been said that she was the daughter of a man of
noble rank named Déwa no Kami Yoshizané, but much doubt exists both
as to her parentage and her birthplace, and there is even some reason to
believe that she was rather an embodiment of a principle than an actual
entity. Accepting, however, her story as we find it, we may be grateful
for a curious page of romance. A graceful form moving amidst the high
cultivation of the Imperial Court, “fair as the Princess Yang and Li Fujén,
with a face lovely as a lotus flower, eyebrows like the slender willow
branches of spring,” and a mind illumined by poetic fire and sparkling wit
一 but frail as she was beautiful and gifted, and on occasions cruel as
profligate. She is shown in her days of pride and luxury drawing rain
down upon the parched earth by the numbers of her magic verse, bringing
to shame the rival who sought to fasten upon her the stigma of
plagiarism and falsehood; courted by the noblest of the brilliant band
that surrounded the throne—and again, without a step of transition, old,
enfeebled, clad in unclean rags, begging her way from door to door until she
died, rotted, and became the food of dogs on the highway—a moral illus-
tration of the Buddhistic text, “All is vanity,” that the artist never
tires of repeating, and sometimes elaborates with sickening detail.
She is enumerated as one of the six great poets, and many verses
attributed to her were included in the Kokinshiu by Ki no Tsurayuki,
who says that her compositions are like those of Soto Ori Himé, and
compares them to “a beautiful woman in sickness.” In pictures she
appears under several aspects:
1. As a model of feminine beauty.
2. As one of the Six or Thirty-six Puets. (See No. 343 et seq.)
3. Reciting her poem in a time of threatened famine from long drought.
Her lines are said to have attracted the storm-cloud so rapidly that her
recitation was not completed before it was necessary to shield her from the
rain. The event is recorded as having taken place in 866 a.p. (See
No. 2855.)
4. Washing the book of old poems in which her rival Kuronushi
had inscribed one of her verses to make it believed that the composition
was a plagiarism. The water removed the newly-applied ink from the
page, leaving the old writing intact, and thus vindicated her honesty and
talent. (See No. 210.)
5. Oldand ragged, seated by the wayside begging, or chased by street boys.
6. Illustrating all the stages of decomposition of the body after death.
A large number of curious references to Ono no Komachi have recently
been collected and translated by Mr. Satow, and wil probably be placed
before the public.
122 JAPANESE PICTORIAL ART.

205a. Kakémono, on silk, painted in colours. Size (oval), 71 x 103.

Ono no Komachi and Isé (?).
Two ladies in court dress—fan mounts.

Attributed to To-sa Mirsv-dx1. No signature or seal.

Seventeenth century.
Isé is included amongst the thirty-six famous poets, but little is
to be discovered as to her history,

206. Kakémono, on silk, painted in colours. Size, 19} x 253.

Shichifukujin. (See p. 27.)
The Seven Gods of Good Fortune, drawn with some approach to
Buddhistic formality of treatment. Bishamon, as in the older
temple carvings, is represented as trampling upon a prostrate
demon. Benten bears the attributes of the Torii (Shinto gate-
way) and white serpent. Jurdjin is attended by two boys, one of
whom holds his staff and rolls, the other a branch of coral and
the fungi emblematic of longevity. Fukurokujiu is accompanied
by the crane and stag. Hotei, seated, plays with a boy who holds a
Buddhist wand (nio-i). Lastly, Ebisu with his tai and fishing-
rod, and Daikoku, with the rice bags and mallet, are drawn as in
later pictures.
This painting, which dates from about the end of the seven-
teenth century, is one of the earliest in which the seven ancient
divinities known as the Shichi-fuku-jin are grouped together. It
is probable that the constitution of the little company fluctuated
for some time, as we find variations in the Butsu 26 dzu-i, Buzen
Shichifukujin ko, and other books published near the same period;
but the personages here represented are identical with those drawn
upon the modern porcelain of the exporting fabriques, although
free from the modern familiarity of treatment.
Painted by To-sa Mrrsu-suxé. Seal. Seventeenth century.
207. Kakémono, on silk, painted in colours. Size, 40} x 161.
Kugé and Lady. Scene from the ‘ Genji Monogatari’ (?).
Two formal personages in court dress seated in a room: bor-
dering a garden, and looking with imbecile stolidity at a cherry-
tree laden with blossoms that, like the figures, have been con-
ventionalised out of all vitality and truth to nature.
Painted by To-sa Mrrsv-yosni. Signed Tosa SHo-Go-1-eh.
Danso SHo-OHIN Fusi-wara no Mrrsu-yosni. Seal. 了 igh-
teenth century.
This picture, which is probably an illustration to some passage
in the ‘Genji Monogatari, exemplifies the manner in which the
 YAMATO-TOSA SCHOOL. 123

artists of the Yamato-Tosa school often succeeded in reducing

representations of living beings to mere receptive surfaces for
colour. ‘

208. Kakémono, on silk, painted in colours. Size, 112 x 172.

Flowers.
Copied by Tosa MITSU-ATSU from a picture by Mrrsv-oxt.
Signed Gwa-sHo ADZUKARI Jiu-sut-1-ch Tosa NO Kami Fvst-
WARA NO Mirsu-arsu. Highteenth century.
209. Kakémono, on silk, painted in colours. Size, 22} x 393.
I. Court Procession.
The fore part of the procession is veiled by decorative mists in
order to convey the strongest impression of its length.
Painted by Tosa Mirsvu-atsu. Signed GwasHo ApzUKARI
Ji-sHi-No-ck Tosa no AMIT
及 Fusi-wara no Mrrsu-arsv.
Eighteenth century.

210 and 211. A pair of Kakémonos, on silk, painted in colours.

Size, 363 x 144.
1. Ono no Komachi washing the book.
At one of the poetical competitions (Uta no Awasé) in the Imperial
palace Ono no Komachi was to contend for the palm against Otomo no
Kuronushi. Kuronushi seeking to gain the prize by stratagem, listened
‘at the back of her house, till he heard her repeat to herself the verse that
she was to recite in the contest, and then secretly wrote down the lines in
the midst of a collection of poems called the Man-yd-shiu. When the day
of competition arrived the composition of Komachi was greatly admired by
the Emperor and was pronounced unequalled; but her rival bringing
forth .the Man-yd-shiw proclaimed that the verse was stolen, and the
assembled nobles all believed that Komachi had deceived them. The
poetess, seeing through the device, called for water and washed the page
upon which the forgery was inscribed. The new ink disappeared leaving
the old writing unchanged, and Kuronushi was put to shame.
The poetry of Komachi is compared to a beautiful woman in sickness;
while that of Kuronushi has been likened to a woodman reposing amidst
the flowers.

2. “Musashi no dzu” The Musashi picture. A

court noble (Narihira p) and lady seated amidst the
long grass.
Painted by Isui-yama Moro-xa or Samuer Signed
Mo-noxa. Seal. End of seventeenth century.
Ariwara no Narihira was a famous poet and courtier in the ninth
century. He was the Antindus, as was his apocryphal contemporary,
124 JAPANESE PICTORIAL ART.

Ono no Komachi, the Phryne of the Japanese Court, and is generally

referred to with Genji, the hero of the Genji Monogatari, as a type of
masculine beauty (“As handsome as Narihira or Genji”). He received
the poetic crown in 841 a.p., and died at the age of fifty-six, in 880. It
is supposed that he was the hero of the Is¢ Monogatari (see p. 114).
He is most commonly represented in pictures as follows :—
1. As one of the Six or Thirty-six famous Poets.
2. Fording the Tamagawa (“'Tamagawa no Dzu”). See No. 2102.
3. Travelling upon the Tokaidd and gazing at Mount Fuji, by which he
was inspired with a celebrated poem. -
4, Seated with Komachi (?) in the long grass (“ Musashi no Dzu”).

212. Kakémono, on silk, painted in colours. Size, 283 x 363.

The house of a Court noble.
The interior of the building is exposed by the curious artistic
licence of removing the roof, a plan which has also the advantage
of displaying a greater amount of the scenery beyond. The dresses,
the simplicity of furniture, the gorgeous decorative effects pro-
duced by screens and panels, are all deserving of notice, as forming
a part of the real “high life” in Japan. The so-called “ pictures
of high life” referred to in foreign writings are usually scenes in
houses of ill-fame.
Copied from an old picture by Sumi-yosnr 再 IRO-OHIKA.
(Fifteenth century.)

213. Kakémono, on silk, painted in colours. Size, 872 x 143.

Birds and Flowers.
Painted by Sumi-yosni HIRo-YUKI Signed. Seal. End
of eighteenth century.

214. Kakémono, on silk, painted in colours. Size, 425 x 15}.

Scene of Court life, from the ‘ Genji Monogatari’ P
A lady in Court dress, seated in a room that opens into a garden,
is playing upon a biwa; three other ladies of inferior rank are
sitting upon the verandah.
Painted by Sumi-vosn1 Hrro-sapa. Signed SuMI-YOSHI
NAI-KI Hrro-sapa. Seal. Nineteenth century.

215. Kakémono, on silk, painted in colours. Size, 86 x 203.

Yii the Great.
The Emperor, in robes of ceremony, holds a sceptre of peculiar
form, and grasps the right thumb with the left hand.
The outer garment is decorated with emblematic figures of
dragons, a pheasant, a rock, and the sun, moon, and stars. The
 YAMATO-TOSA SCHOOL. 125

position of the hands is probably traditional, as it is frequently

repeated in portraitures of the monarch. See No. 732.
Painted by Hrro-sapa. Signed Sumi-yosur NAIEKI HIRO-
sapa. Seal, Nineteenth century.
Yii the Great was the successor of the Emperor Shun, and the reputed
descendant of the Emperor Hwang Ti. After observing the usual
ceremony of mourning for three years subsequent to the death of his
predecessor, he conimenced to reign in 2205.3.c. His great work was
controlling the waters of the flood that covered the territories of the
empire, a task to which he devoted nine years, without care for food or |
raiment, and even regardless of the natural affections, for it is said that
he never interrupted his labours by entering the doors of his house, though
thrice passing so close that the wailings of his infant son reached his ear.
(See Mayers’ ‘ Chinese Reader’s Manual,’ No. 931.)

216 and 217. A pair of Kakémonos, on silk, painted in colours.

Size, 382 x 143.
Amusements of Court life. Spring and Autumn,
scenes.
Courtiers and ladies enjoying boating and music.
Painted by Hriro-sapa. Signed Sumi-yosnt NAIEKI Himo-
sapa. Seal. Nineteenth century.

218. Kakémono, on silk, painted in colours. Size, 44 x 294.

Kwan Yi.
A martial figure with long black beard and dragon crest. A
large spear rests by his side.
Painted by Ker-1 Hmo-naca. Signed. Seal. Nineteenth
century.
Kwan Yii, the Chinese God of War, is a very familiar figure in Japanese
works of art.
Once a vendor of bean-curds at Kiai Chow, in Shan-si, he elevated him-
self to the position of the greatest military commander of his country.
He first rose into notice in 184 a.p., when he joined in a solemn confederacy
or brotherhood with Liu Pei and Chang Fei (Jap. Gentoku and Chohi),
the former of whom he aided largely in securing possession of the throne
of Shuh. Mayers relates, in illustration of his fidelity, that when the
Regent Ts’ao Ts'ao wished to turn him from his fealty towards Liu Pei,
he shut him at night in the same apartment with the two wives of his
friend, but the hero preserved his reputation and honour by mounting
guard in an ante-chamber until morning, with a lighted lantern in his
hand. He was deified as God of War in 1594, and his worship has been
firmly established since the accession of the Manchow Dynasty (see
Mayers’ ‘ Manual,’ Part i., No. 297).
The Japanese representations of Kwan Yii are derived from Chinese
pictures, which show him as a man of robust proportions and stern aspect,
126 JAPANESE PICTORIAL ART.

distinguished especially by a large black beard descending to his waist

(whence one of his names, “The Lord of the Splendid Beard”). He
usually carries an enormous spear, and is attended by a ferocious-looking
retainer.

219. Kakémono, on silk, painted in colours. Size, 88 x 14.

Yoriyoshi striking the rock.
A good study of Japanese armour.
Painted by Kur-1 HIRo-NAGA. Signed Fusi-wara no HIRo-
NAGA， Seal. Nineteenth century.
During the rebellion of Abé no Yoritoki, in the sixth month of the year
1052, the rainfall ceased for many days, and the army led by Minamoto
no Yoriyoshi against the rebel suffered greatly from thirst, but no water
could be found. Yoriyoshi, moved by their distress, prayed earnestly to
the gods, and then struck a rock with his bow, when by the favour of
heaven a clear stream immediately gushed forth (see Sha-hd bukuro,
vol. ii.).
The same phenomenon is said to have occurred when Yoshi-iyé, the son
of Yoriyoshi, was leading an army against the Ainos, and the stream which
flowed in answer to his prayer became the source of the great Kita Gami
river (see Rein’s ‘Japan,’ vol. i.); and in the Jiki shihd, Li Kwang-li,
va general of the Emperor Wu Ti, is made the ,hero of a similar episode
during his expedition against the kingdom of Ta Yiian in 104 B.c.

220. Kakémono, on silk, painted in colours. Size, 181 x 28.

Scene of Court life.
Kugé and lady looking at paintings.
Painted by K6-sru (or Hiro-misa). Signed. Seal. Nine-
teenth century.
221. Kakémono, on silk, painted in colours. Size, 523 x 263,
The Mikado’s visit to Sumiyoshi.
The Imperial car, drawn up by the sea-shore, is surrounded by
Court nobles, but the Emperor himself is not visible.
Painted by Ker-1 Hrmo-naca. Signed Sumi-yosar Hiro-
NAGA。 Seal. Nineteenth century.
The Temple of Sumiyoshi, situated on the borders of the province of
Settsu, consists of four shrines dedicated to the Empress Jing5 and the
three gods whose spirits accompanied her to Korea. See ‘ Handbook for
Japan,’ p. 193.

222. Kakémono, on silk, painted in colours. Size, 37} X 183.

Scenes of Court life.
Kugé and ladies.
Interior of room exposed by removal of roof.
 YAMATO-TOSA SCHOOL. 127

Painted by Hrro-romz. Signed Sumi-yosut NAIKI HIRo-

TOMI， Nineteenth century.
223 and 224. A pair of kakémonos, on silk, painted in colours.
Size, 362 x 1332.
Birds and Flowers. Summer and Autumn Scenes.
(Compare with No, 213.)
Painted by Iva-ya KEI-SHIU (Hrro-masa). Signed Ket-
soiv. Seal. Highteenth century.
225. WKakémono, on silk, painted in colours. Size, 412 x 172.
Shichifukujin. (See p. 27.)
This may be compared with the earlier and more formal render-
ing of the same subject in No. 206. Benten, in a kind of undress
costume, is playing the biwa, while Juréjin, Hotei, Daikoku, and
Ebisu are watching the approach of Fukurokujiu, who is sailing
through the air upon a crane. Bishamon alone retains his Bud-
dhistic dignity.
Painted by Ira-ya 了 ET-SHIU。 Signed Ket-suiv. Seal.
Highteenth century.
226 and 227. A pair of Kakémonos, on silk, painted in colours.
Size, 41 x 153.
Six Copies of pictures by celebrated masters.
1. Rats and Sweet Melon. After Saun-Kti (Jap. SHUN-KIO)，a
Chinese painter of the Ming dynasty.
2. Ono no Komachi, after Nosu-zané. (Yamato school. Thirteenth
century.)
3. Carp, after Tosa Hrro-micur. (Tosa school. Seventeenth
century).
4, Birds and flowers. After Awapa-cucut Hoan or Tosa Taka-
Mitsu. (Yamato school. Fourteenth century.)
5. Chinese landscape. After Kano Masa-nosu. (Kano school.
Fifteenth century.) bs
6. “No” dancer. After Kasuea YUKI-HIDZE， (Tosa school. Fifteenth
century.)
Painted by Ira-ya Ker-suiv. Signed Krt-suru Hrromasa.
Seal. Highteenth century.
228 and 229. A pair of Kakémonos, on silk, painted in colours.
Size, 474 x 174.
Falcons.
The vigorous and life-like drawings of these birds is curiously at
variance with the laborious and conventional execution of the
128 JAPANESE PICTORIAL ART.

historical and semi-historical pictures by which the Tosa artists

are best known.
Painted by Ker-suru, at the age of sixty-one. Signed
Sumi-yosui 及 BIT-SHIU Fust-wara no Hrro-masa. Seal (Hiro-
MASA). 了 ighteenth century.
230. Kakémono, on silk, painted in colours. Size, 434 x 173.
Landscape. Spring view.
Conventional cherry-tree in foreground. Decorative clouds in
blue and gold.
Painted by Masa-nmra “for amusement.” Signed. No
seal. Highteenth century.

231. Kakémono, on silk, painted in colours. Size, 33 x 131.

Snow.
Coolies covering with white plaster the outlines of a gigantic
Chinese character, signifying ‘“ Snow.”
Painted by Suxi-nmpt. Signed Jo-sar Seal. Poetical
inscription by Denkian. Nineteenth century.

232. Kakémono, on silk, painted in colours. Size, 22 x 114.

Japanese Shichifukujin. (NIPPON sHOJIKI JIZAI SHICHI
FUKU FUGU JA FUKU. The seven honest and free gods of
wealth, who reject unjustly-acquired riches.)
. Inari Dai Mid-jin, or Miké-mochi no Mikoto.
. Kurishima Dai Mié-jin, or Suku-na-hiko-na Mikoto.
. Kasuga Dai Mio-jin, or Koyané no Mikoto.
. Itsukushima Dai Mié-jin, or Ichikishima Himé.
. Tsubaki Dai Mié-jin, or Saruda-hiko no Omikami.
. Okuni Nushi no Kami, or Ona-muchi no Mikoto.
io
oo . Ebisu Dai Jingu, or Koto-shiro-nushi no Mikoto.
Noah

Painted by Issur-SAIT ADzuoHI Ho-sen. Signed. Seal.

Nineteenth century.

233. Kakémono, on silk, painted in colours. Size, 352 x 13.

Hawk’s Nest.
Hawk and young in a nest built upon the branches of a pine-
tree, behind the column of a waterfall.
Painted by Fusi-wara no Korii-pzumt. Signed. Seal.
Nineteenth century.
 YAMATO-TOSA SCHOOL. 129

234. Kakémono, on silk, painted in colours. Size, 172 x 28}.

The Shinto shrines at Isé.
Painted by Matsu-1 SHUN-SHO. Signed ASA-HI MATSU-I
Suun-sHo. Seal. Nineteenth century.
For an account of the origin and peculiarities of Shintd architecture,
see Satow and Hawes’ ‘ Handbook for Japan,’ 2nd edition, page [64].

235. Kakémono, on silk, painted in colours. Size, 45 x 204.

Hawk and pine-tree.
Painted by Y6-aé. Signed. Seal. Nineteenth century.

236. Kakémono, on silk, painted in colours. Size, 23} x 344.

Court nobles at the entrance of the Imperial palace
at Kioto on a day of reception.
The style of drawing resembles that of the Shij5 school.
Painted by Hayasnt Ran-aa. Signed. Seal. Nineteenth
century.

237. Kakémono, on silk, painted in colours. Size, 361 x 1632.

The Emperor She Hwang-ti. (Jap. SHIKO Tx, or SHIN
NO Surko), sheltered by the pine-tree.
Painted by Ka-no Toxt-nosv at the age of eighty. Signed
Fust-wara no Toxi-Nosv. Seal. Seventeenth century.
(Kano School.)
The Emperor She Hwang-ti or Chéng (259-210 3.c.) was the great
sovereign who founded a new and homogeneous empire from the ruins of the
Chinese feudal system (Mayers). The episode illustrated in the kakémono is
taken from a well-known poem relating how the monarch, being overtaken
by a shower when hawking, sought shelter beneath an aged pine, and was
preserved from the rain by a miraculous thickening of the foliage above
his head. The Emperor, in commemoration of the circumstance, con-
ferred upon the tree the rank of Tai-yu.
Mr. Dickins explains, in a note to his translation of the Chiushin- _
gura, that the word Tai-yu means not only a rank, but also “great rain ;” 7
a quip that would tell forcibly amongst such inveterate punsters as the FF
Japanese.
The story is related, with some slight differences of detail, in the
Yokioku gwashi, and is there illustrated by TAcHIBANA No Morixunt.

238. Kakémono, on silk, painted in colours. Size, 37? x 132.

Cranes (Grus viridirostris).
Painted by To-sa Mrrsu-sapa. Signed E-poxoro Apzv-
KARI SHo-ao-1-ai To-sa NO Kami Fusi-wara no MITSU-SADA.
Dated second year of Bunkwa (1805).
K
130 JAPANESE PICTORIAL ART.

Two kinds of crane are represented by Japanese artists, one, the Grus
Leucauchen (Temm.) or white-naped crane, with ashy grey and black
plumage, relieved by a crown and nape of pure white; the other, the G.
viridirostris (Veillot), or Mantchurian crane, characterized by a plumage
of white and black, and by a bare crimson patch upon the forehead and
crown. It is the latter that appears in the works of Chinese artists and of
the Japanese painters of the older schools, and is regarded as especially em-
blematic of longevity. The white-naped crane, which is rarely depicted
except by the modern popular artists, is the national crane of Japan, and
was formerly reserved as noble sport for the falcons of the Daimios.
Three other varieties are known in Japan, the G. leucogeranus, G. com-
munis, and G. monachus, but are seldom introduced into paintings. (See
‘Monograph on the Natural History of the Cranes,’ by the late Mr. Edward
Blyth, enlarged by Mr. Tegetmeier, and recently reprinted.)
These birds must not be confounded with the egrets, which owe what-
ever good repute they possess to their utility as worm-destroyers in the
paddy fields.
The crane is familiarly known in Japan as the Tsuru—or with the
honorifics, ““O Tsuru Sama,” and lends its name to many places (e.g.
Tsuru-mi, or “Crane view,” near Yokohama). Its status in popular
estimation, at the end of the 17th century, may be judged from the
following quotation from Kempfer’s ‘ History of Japan,’ book i. :一 “The
Tsuru, or crane, is the chief of the wild birds of that country, and hath
this particular imperial privilege, that nobody may shoot him without .an
express order from the Emperor, and only for the Emperor’s own pleasure
or use. In Saikokf, however, and other provinces remote from Court, a
less strict regard is had to the like Imperial commands. The cranes and
tortoises are reckoned very happy animals in themselves, and thought to
portend good luck to others, and this by reason of their pretended long
and fabulous life, of which there are several remarkable instances in their
historical writings. For this reason the Imperial apartments, walls of
temples, and other happy places, are commonly adorned with figures of
them, as also with figures of firs and bamboos, for the like reason. I never
heard country people and carriers call this bird otherwise than O Tsuri
sama, that is, ‘my great lord crane.’ There are two different kinds, one
white as snow, the other ash-coloured.”
In Chinese mythical zoology four varieties of crane are enumerated—
the black, the yellow, the white, and the blue—and of these the black is
supposed to attain the greatest number of years. The bird is supposed to
become superior to the necessity for other sustenance than water after
completing six hundred years.
In pictures it is nearly always associated, as an emblem of longevity,
with the conventional vermilion sun, or with the bamboo, and in a well-
known composition, represented in Nos. 690 and 700, appears swimming
upon the waves near to a rock upon which grows a fruit-laden peach-
tree. In paired kakémonos it is a companion to the tortoise, and is there
depicted in muititudes upon the pine-clad shore of the Mount of the
Immortals. As an accessory it is met with as the attribute of Fukuro-
kujiu and occasionally of Jurdjin, as the aérial steed of Wang Tsz’ Kiao,
as the associate of the poet Lin Hwa-ching, and in various other con-
nections where the artist wishes to introduce an allegory of the blessings
of long life.
 YAMATO-TOSA SCHOOL. 131i

239. 机 0Dvail painted in colours. Size, 404 x 164.

Hawking.
Painted by Su-wa Sué-yer Signed. Seal. Nineteenth
century.
In former days hawking was a favourite amusement of the aristocracy of
Japan, and was jealously guarded as a privilege of rank. It is still occa-
sionally followed.
An admirable series of pictorial illustrations of the sport will be found
in the B-hon Taka Kagami, by K1osat.

240. Kakémono, on silk, painted in colours. Size, 884 x 154.

Portrait of Uyésugi Kenshin.
A warrior in complete armour, the helmet replaced by a priest’s
cap. He is seated upon a camp-stool, and behind him stands a
war banner, on which is inscribed the character “Pi” (proba-
bly the first character of Bishamon, or the second character of
Kompira).
Painted by Minamoro no 了 TYo-YoSHIL Signed Den-
PAN SHOPU MINAMOTO Kryo-yosu1. ‘wo Seals. Nineteenth
century.
Uyésugi Kenshin, a celebrated chieftain of Echigo, was the rival of
Takéda Shingen, the ruler of Koshii, with whom he fought desperate
battles on the plain of Kawanakajima, near Niigata. He died in 1578.

241. Kakémono, on silk, painted in colours. Size, 22 x 32.

The Imperial Orchestra.
The Emperor and Empress are seated upon a raised mat, while
the musicians, five in number, with their faces turned away from
the royal audience, perform upon their several instruments, the
great drum (taiko), the small drum (kakko), the 和 (s15)，the
flute (otéki), and the fife (fuyé).
Painted by Ma-cawa I-rrsvu. Signed. Seal. Nineteenth
century.
The ordinary Japanese orchestra generally includes nine performers,
two drummers, two fife-players, two flageolet players, a triangle-man
(Kané-gata), and two singers or reciters (Utai-gata). This number may
be reduced to five by omission of the duplicate musicians. See appendix
to translation of the Chiushingura, by Mr. F. V. Dickins.

242. Kakémono, on silk, painted in colours. Size, 193 x 243,

Japanese Shichifukujin.
In place of the usual seven divinities of mingled origin, the
number is made up by Japanese personages. Ebisu and Daikoku
K 2
132 JAPANESE PICTORIAL ART.

are preserved, although the latter is probably Brahmanic in origin,

and the number is completed by Saruda-hiko Daijin, recognisable
by his red face and long nose; Miké-mochi no Mikoto (Inari), as
an old man carrying sheaves of grain; Koyané no Mikoto and
Sukuna-hiko-na Daijin, two figures clad in white, one holding a
sword, the other a golden ball; and lastly Ichikishima Himé, a
female in Court dress playing upon a stringed instrument (gekkin).
See also No. 620.
Painted by To-sa Masa-xunt. Signed Fuxu-yama E-poxoro
O-m1. Seal. Nineteenth century.

243. Kakémono, on paper, painted in colours. Size, 55 x 32.

Birds and Spring Flowers.
Painted by Isui-yama Moro-xa. No signature. ,Two
seals. Highteenth century.
244. Kakémono, on silk, painted in colours. Size, 393 x 14%.
Také-no-uchi no Sukuné, with the child of the Empress
Jingo. |
Painted by AI-MIT Minamoto no ‘Taxi-xunt. > Signed.
Seal. Nineteenth century.
Také-no-uchi no Sukuné, the most venerable of veterans, attained the
ripe age of two hundred and fifty years in the service of six successive
emperors. He was the faithful associate of the Fmpress Jingd in her
Korean expedition, and the guardian of her child. ，
He is generally represented in company with the Empress, hiolding in
his arms the infant prince, afterwards the Emperor Ojin, or grasping the
tide-ruling gems which had been presented to the Empress by the servants
of the Dragon King. (See rote, p. 141.)

245. Kakémono, on silk, painted in colours. Size, 303 x 1384.

Jizo.
K’shitegar’bha, distinguished by his attributes the Precious Gem and
Ringed Staff, is descending upon a cloud. In the foreground of the
rocky scenery is a deer, and floating across the lower part of the picture
are iridescent clouds. .
This picture is an adaptation of the style of the Tosa school to a
Buddhist subject.
Artist unknown. No name or seal. Nineteenth century.

246. Kakémono, on silk, painted in colours. Size, 874 x 194.

(From the Franks Collection.)
Dead Crane.
A dead crane suspended by means of cords and pieces of bamboo
 YAMATO-TOSA SCHOOL. 183

to a bar. The bird is probably a trophy of the prowess of a

favourite falcon.
Painted by Kr YEI-SAIL Signed. Seal. Nineteenth
century.

247. Kakémono, on paper, painted in colours. Size, 313 x 9%.

Samurai and Wakashi.
This picture is said to be a copy of a work originally painted in
the thirteenth century. Execution very indifferent.
Artist unknown. Seventeenth century.

248. Kakémono, on silk, painted in colours. Size, 43 x 15%.

Hawk and pine-tree.
No signature. Twoseals. The lower seal contains the famous
* Chinese line, “The peach and plum blossoms are silent, yet is a
path worn to the place where they grow.”
Painted by Mort-yosut. Seal. Nineteenth century.

249. Kakémono, on silk, painted in colours. Size, 384 x 164.

Falcon.
Painted in the style of Krisuit (see No. 228). Artist
unknown. No signature. Seal half obliterated. Nineteenth
century.

250. Kakémono, on silk, painted in colours. Size, 41 x 134.

Iyéyasu, Hidétada, and five celebrated generals.
The portraits are supposed to be historically correct. The
figures are arranged in the following order.
Tyéyasu, Hidétada,
Sakai, Sakakibara,
ji, Honda,
Okubo Hikozayémon.
Painter unknown. No signature or seal. Nineteenth
century.
Portraits of personages of high rank seldom bear the name or
seal of the artist.
Tyéyasu was the great founder of the Tokugawa line of Shoguns, and is
held in reverence to the present day as a profound statesman and temperate
ruler. He is known to Europeans as the patron of the English pilot, Will
Adams. The main features of his career are sketched by Mr. Griffis in the
‘Mikado’s Empire.’ He died in 1616, at the age of seventy-three.
134 JAPANESE PICTORIAL ART.

251,252 and 253. A set of three Kakémonos, on silk, painted

in colours. Size, 52 x 304.
Scenes from the life of HoOnen-Shonin.
The picture is subdivided by means of conventional clouds into
a number of compartments, in which the different episodes of the
story are represented.

Painter unknown. No signature or seal. Sixteenth

century (?)
Honen Shonin, known also as Enko Daishi, was born in 1133 in the
province of Mimasaka, his advent into the world being accompanied by
various portents. At the age of fourteen he was sent to. the great
monastery of Hiyeizan, where he made rapid progress in study, and
developed a special doctrine of salvation which became the creed of a
new sect called the Jodé-shiu. In 1207 he settled at Kidto, and five
years later died there at the age of seventy-nine. (See Satow and Hawes’
‘Handbook for Japan,’ p. 373.)

254 and 255. A pair of Kakémonos, on silk, painted in colours.

| Size, 562 x 323.
Scenes from the life of Shotoku Taishi.
The illustrations of the different episodes are separated by means
of conventionalized blue clouds, an artistic substitute for a more
mathematical subdivision. )
The colouring is heavy but decorative, in the style of the Tosa
school.
Painter unknown. No signature or seal. Seventeenth
century (?).
Shotoku Taishi was the eldest son of the Emperor Yomei. The following
semi-legendary details of history are extracted from the Butzu 20 dzu-7. “He
was born on the first day of the first month of the second year (first year
according to some authorities) of the reign of the Emperor Bitatsu (573
A.D.), and owing to the circumstance that his mother was unexpectedly
delivered near the Imperial stables, he received the name of Umaya-do no
Oji (Prince of the Stables). His advent was announced by a brilliant
light that came from the West (India) and illuminated the palace. When
he was only six years of age, Nichira, a Korean sage, came to Japan and
paid homage to him, and during their converse their bodies suddenly
became luminous. It was at this time that the sacred books of Bud-
dhism were first introduced into Japan.
“On the third year of the reign of the Empress Suiko (595 A.D.) a
learned man named Eiji came from Korea and became the teacher of
the prince. Twelve years later the Taishi entered the sleeping palace, and
closing the doors was not seen for seven days and seven nights: on the
morning of the eighth day he appeared, and there lay upon the table a
sacred volume, to which he pointed, saying: * This is the holy book that
 YAMATO-TOSA SCHOOL. 1385

refers to my previous state of existence, and has been brought: by my

disembodied spirit from the Empire of China.’
“ When he was preaching from the Shomon Kiyo (a Buddhist Sitra)
flowers of two or three feet wide fell down from heaven,
“At the age of sixteen he quelled the rebellion of Mono-nobé no Moriya.
“了 He died at the age of forty-nine, and his consort died with him.
“He had six names, Umayado, Jogu, Seitoku, Yatsumimi (eight ears),
Toyotoshi, and Niso, and he built nine temples.”
A more detailed account of his life will be found in Satow and Hawes’
* Handbook for Japan,’ p. 344.

256. Kakémono, on silk, painted in colours. Size, 263 x 114.

Quail and millet (“ SHIGI TO Awa”).
Artist unknown, no signature, Two seals in upper left-
hand corner. Sixteenth century (?).
The quail in the Japanese picture is always, represented together with
the millet, an association of ideas comparable with that which connects
the swallow with the willow-tree, and the peacock with the peony. It is
probable that nearly all of these groupings have their origin in famous
poetical compositions. A list-of the most familiar associations is given
in the ‘ Budget of Japanese Notes,’ by Mr. Pfoundes.

257. Kakémono, on paper, painted in colours. Size, 11 x 201.

Flowers.
Artist unknown. ‘Two seals. Inscription, “ Nippon no
ko-gwa hana-no-ki dzu.” (Ancient Japanese picture of a
flower tree).
Artist unknown. Seal. Eighteenth century.

258. Kakémono, on paper, painted in colours. Size, 36} x 16}.

Portrait of Shdtoku Taishi. (See No. 254.)
Probably copied from an older picture. Artist unknown.
No signature or seal.

259. Kakémono, on silk, painted in colours. Size, 35 x 123.

Iyéyasu. and his seventeen famous retainers. (See
No. 250.)
The names appended to the portraits are as follows :—
Sakai Sayémon-no-jé Tadatsugu
. Matsudaira Jintard Yoshiharu
Ji-hidbu no Shoyi Naomasa
Honda Nakatsukasa no Taiyu Tadakatsu
oR
ob . Sakakibara Shikibu no Taiyu Yasumasa
jor]. Okubo Hikozayémon Tadanori
136 JAPANESE PICTORIAL ART.

7. Okubo Shichizayémon Tadamasa

8. Torii Hikozayémon Mototada
9. Makumazo Tadamasa
10. Hachiya Han-no-jé Sadaharu
11. Okubo Jiyémon Motohiro
12. Watanabé Hanzo Moritsuna
13. Naité Shirozayémon Masanari
14. Suganuma Shinhachiro Sadamitsu
15. Hattori 了 anz0 Masanari
16. Yonékidzu Niudo Joshin
17. Takagi Mondo Yoshitoshi.
Artist unknown. Nineteenth century.
260. Makimono, on silk, painted in colours. Size, 48 x 193.
Presentation of Korean ambassadors at the Court of
the Mikado.

Artist unknown. No name or seal. Eighteenth century.

261. Makimono, on paper, painted-in colours. Size, 83 x 153.
The Battle of Ogaki.
Painted by Moro-zo-nx. Signed. Seal. Nineteenth
century.
The battle of Ogaki was fought in 1600 between Iyéyasu and Hidé-
yori, resulting in the defeat of the latter and the re-establishment of
Tyéyasu in the Shogunate. The engagement appears to have been very
sanguinary, and it is said that forty thousand heads were cut off. Japanese
figures, however, are purely romantic where relating to public or historical
events.

262. Makimono, on silk, painted in colours. Size, 402 x 133.

“Hiak’ki no Yako,’ The Nocturnal march of the
hundred demons.
A wild and irregular procession of demons of the most grotesque
aspect, for whose figures almost every familiar object, animate and
inanimate, from tigers to gravestones, has been laid under con-
tribution. The strange creatures are seen lightening the tedium
of their journey by all the tricks and mockery that malice and
invention could devise in travestie of the busy ceremonials of man,
till we reach the van of the troop, who are recoiling and fleeing
in confusion from the dazzling glare of the rising sun, which
disperses the weird forms of the night-clouds and sheds its rays on
all around.
The picture is copied from an ancient makimono by an unknown
artist of the Tosa school, probably anterior to the fifteenth century.
An engraving of a similar roll will be found in the Kiyé gwa yen.
 YAMATO-TOSA SCHOOL. 137

Painted by Sumi-yosu1 HIRO-NAGA， Signed Fust-wara NO

Hrronaca, Seal. Nineteenth century.
263. Makimono, on silk, painted in colours. Size, 227 x 93.
Horses and oxen.
Carefully but very incorrectly drawn representatives of
the different native breeds. The series is preceded by a
picture of Ma She Hwang healing the sick Dragon. Artist
unknown. Nineteenth century.
Ma She Hwang (Jap. Bashiko) is described in the Ressen-zen den as a
skilful physician for horses, who lived in the reign of Hwang Ti (2697-
2597 B.c.). ‘He was learned in the secret of the pulses, and could foretel
whether a sick horse would die or recover, in the latter case swiftly curing
the disease. Once a dragon appeared to him, and She Hwang perceiving
by its falling ears and drooping jaw that it was ill, performed acupuncture
upon its lip and administered a potion of liquorice: the sickness was at
once relieved, and the dragon, restored to health, flew away into the clouds.”
According to some versions of the story, the grateful monster bore the
adept upon its back to the home of the Immortals.

264, 265,266. A set of three makimonos, on paper, painted in

colours, with descriptive text. Size, 495 x 123.
The Sumiyoshi Monogatari (see p. 115).
Illustrations in the style of those of the Gengi and Isé
Monogataris. Probably copies of older rolls. Artist un-
known. No signature or seal. Eighteenth century.
267. Makimono, on paper, painted in colours, with descriptive
text. Size, 718 x 123.
“A journey Eastwards.” Scenes of travel.
Painted by Fusi-wara no Tami-rsuna. Eighteenth
century.

268, Makimono, on silk, painted in colours. Size, 211 x 113.

Hight scenes from the Gengi Monogatari (see p. 113).
Painted by Tosa Mirsu-yosur. Signed SHo-roxv 1-No-ait
SAKON-YE no ASHO-GEN Fousi-wara no Mrrsu-yosur. Seal.
Eighteenth century.
269, 270, 271. A set of three makimonos, on paper, painted in
colours, with descriptive text. Sizes, 330 x 12} and
356 x 124.
The story of the Young Shiuten Doji. (See p. 111.)
Tracing his career from his infancy, and showing how the early
manifestations of cruelty, with a taste for intoxicating liquids and
138 JAPANESE PICTORIAL ART.

the flesh of animals, led to the gradual development of the demon-

robber, virgin-stealer, and cannibal, whose destruction by Raiko
and his associates is recorded in Nos. 383 to 416.
Artist unknown. LHighteenth century. The pictures are
probably copied from earlier rolls.

272. Makimono, on paper, painted in colours. Size, 456 x 14.

Scenes of Yashiki life.
The roll is apparently intended to depict the reception
and entertainment of guests.
Artist unknown. No signature or seal. Eighteenth
century.

273. Makimono, paper, painted in colours. Size, 420 x 163.

The sacred dances at Nikko.
Showing instruments, costumes, &c., “properties” of “No”
actors.

Painted by 了 AN-RIN-SAI Minamoto no Moro-yosut.

Signed. Seal. Dated twelfth year of Bunkwa (1815).
274. Makimono, on paper, painted in colours. Size, 582 x 143.
The Hundred Demons (“ HIAKU Inaio no zu”).
The gruesome company, introduced by a triple-headed King of
Hell (Yemma 0), comprises about thirty individuals, of an aspect
too hideously grotesque to be comical. Each is distinguished by a
special name. The series is closed by a picture of the rising sun
dispersing the clouds, and with them the spirits of evil; and as a
kind of postscript is added a sketch of the Inexhaustible Wallet, the
Rain Coat of Good Fortune, and the Hat of Invisibility, three of the
ten objects grouped together under the name of ‘ Takara-mono.’
Coarsely and unskilfully drawn.
It bears the following inscription: “Taken from a
picture in the possession of Nanzo Etsuzen.” Copied in
Nikko in the second year of Bunsei (1819) by Go-GAKU
Suun-sen. Re-copied in the seventh year of Kayei (1854)
by MINAMOTO no OHIU-RETSU，

275. Makimono, paper, painted in colours. Size, 126 x 103.

Pictures of the Dresses of actors in “NO” performances.
Painted by Surv YosHI-NOBU。 Signed. Seal. Dated
tenth year of Horeki (1760).
 YAMATO-TOSA SCHOOL. 139
—

276. Makimono, paper, painted in colours. Size, 360 x 103.

A medical roll (“ YAMAI No SOSHI ”)，
A series of representations of various morbid conditions, amongst
which may be recognised carbuncle, bursal and other tumours, para-
lysis of the lower extremities, gangrene, acne rosacea, lycanthropy,
eye diseases, abdominal dropsy, intestinal fistula, gastric fistula (a
man whose mouth is obliterated is introducing food through an
aperture in the region of the stomach), and elephantiasis. Descrip-
tive text at end of roll.
Originally painted by To-sa Giosu no Tarytd MITSU-NAGA
(twelfth century). Copied in the ninth year of Anyei (1780)
by Ima-mura. Re-copied in the eighth year of Temmei
(1788) by 玉 UMA-SHIN.
277 to 279. <A set of three makimonos, on paper, painted in
colours. Size (average), 720 x 12%.
Scenes from the life of S’Akyamuni, with text. A copy
from an older manuscript. (See p. 61.)
Artist unknown. Eighteenth century.

279a and 280. A pair of makimonos, on paper, painted in colours.

Scenes from ancient Chinese and Japanese History.
With text. Sizes, 564 x 122 and 602 x 123.
1. The battle at Cho-luh between the Chinese Emperor Hwang ti
and the “first of the rebels,” Ch’ih Yeo (2697 3.c.).
2. The Emperor Ch’eng Tang attacking the tyrant Kieh
(1767 B.c.).
3. Amawaka hiko no Mikoto shooting Nanashi no Kiji (“the
Nameless Pheasant’”’).
Amawaka was the third messenger sent by the Sun Goddess Amatérasu
to the evil-minded Koto Shironushi no Mikoto to induce him to surrender
the beautiful land of Japan. The ambassador fell in love with Shitatéru
Himé, a daughter of Earth, and did not return to Heaven. ‘The Nameless
Pheasant” was sent at the end of three years as a fourth envoy, and Ama-
waka-hiko, fearing lest the truth should be conveyed to the Sun Goddess,
shot the bird, which expired as soon as it had regained the heavens.
Amatérasu drew out the arrow from the breast of her murdered messenger
and cast it back to earth with the wish that it should strike Amawaka-
hiko if his heart were rebellious—and the arrow pierced the traitor, and
he died.

4, Mikadzuchi no Mikoto and Futsunushi no Mikoto before the

* demon cave of Shironushi no Mikoto.
The two warriors were the fifth ambassadors dispatched by Amatérasu
to Shironushi. Their aspect and their arms and armour (each article of
140 JAPANESE PICTORIAL ART.

which was distinguished by a title of formidable length) terrified the

usurper into obedience, and he retired with his evil spirits to a distant
place, after which Ninigi no Mikoto descended from heaven to the province
of Hiuga, accompanied by thirty-two retainers and “three kinds of trea-
sure,” and thenceforth Japan became peaceful and its people grew rich.

5. Hikohohodémi no Mikoto in the submarine realm of the

Dragon God. He is concealed in a tree which overhangs a well,
but the daughter of the dragon king perceives his reflection upon
the surface of the water.
Hikohohodémi was one of the legendary rulers of Japan, the fourth
from Amatérasu, and is said to have reigned 580 years. It is related that
having accidentally lost a fish-hook belonging to a younger brother, whose
jealousy he had excited, he was unable to appease the owner. Wandering
sorrowfully hither and thither by the shore, his grief excited the com-
passion of a marine god, who counselled him to visit the Dragon
realm at the bottom of the sea, where he might discover that which he
sought. The king descended to the Dragon palace, but seeing two
daughters of the Dragon God approaching in the courtyard, concealed
himself in a tree, the branches of which spread over a well. The sisters
bending over the well saw the reflection of his form, and ran home
abashed to tell of the beautiful stranger to their father, who at once
hospitably invited him into the palace. Hikohohodémi, received with
due honour, told the object of his visit, and his courteous host sum-
moned his marine subjects to inquire for the lost hook. All the
inhabitants of the deep presented themselves except the Akamé-dai
(Serranus marginalis ?), who was found to have excused himself on the
score of. a “fish-hook in the mouth.” The hook was, of. course, the
identical one required, and was at once restored to its owner.
The sequel of the story is, that Hikohohodémi returned to find the
throne seized by his brother, but by means of two tide-compelling sacred
gems which had been presented to him by the Dragon God, he drove the
usurper to the mountains and re-established himself in his dominions.

6. The fishes appearing before the Dragon God and Hikohoho-

démi.
7. Mono-no-funo Michi On no Mikoto attacking the demon Tsuchi-
gumo (Harth Spider).
In the reign of the Emperor Jimmu (660-585 B.c.) there appeared in
the province of Yamato a monster, who was described as having a horned
head, fiery red hair, eyes shining like mirrors, teeth like saws, six arms,
and two legs. He was able to hurl massive stones, to rend rocks, up-
root great trees, and spin out from his body white threads by which he
could entangle man or beast. To rid the country of this direful pest
the monarch sent his general to attack him, but the invulnerable Spider
demon made terrible havoc amongst the troops, slaying many and putting
the rest to flight. Then the Emperor adopted the stratagem of covering
the monster’s den with an iron net to prevent his escape, and heaping up
burning fuel at the mouth of the cave, choked in its stronghold the
creature that no sword or arrow could pierce. ‘'This,” says the text, “was
the origin of strategy in warfare.”
 YAMATO-TOSA SCHOOL. 141

The Tsuchigumo is probably not altogether a fable, but may have been
evolved from traditions of a race of cave-dwellers, of whom traces are still
to be found in many parts of Japan.
8. Yamato-daké cutting down the flaming grass.
The prince Yamato-daké, the son of the Emperor Keiké (71-180 a.p.),
was dispatched to subdue a rebellion of the people of the Eastern provinces.
The “ Eastern barbarians ” feared him greatly, but thought to ensnare him
by deceit. They induced him to go to a large prairie covered with tall
grasses, lying at the foot of Mount Fuji, telling him that there he would
find abundance of deer, and might enjoy the pleasures of hunting after the
fatigue of his travels. Unsuspectingly, he availed himself of the sugges-
tion, and began the chase. ‘The treacherous barbarians then set fire to the
long grass, hoping so to destroy him, but the prince drew his sword “ Ama
no Murakumo no hoken” and cleared around him a space in the vegeta-
tion. The flames were unable to reach him, but spreading swiftly in the
direction of his foes, reduced many of them to ashes. The Murakumo
blade, in commemoration of the service, was re-named “ Kusanagi no
Tsurugi,” or the grass-cutting falchion, and became one of the Three
Treasures of the Imperial Regalia.
9. The expedition of the Empress Jingé to Korea.
According to Japanese historical records, Jingd, the consort of the
Emperor Chiuai (reigned 192-200 a.p.), being favoured by a command
from the gods to subjugate Korea, communicated the divine message to her
husband, who refused to be convinced, and was consequently struck down
by the vengeance of heaven. The Empress boldly undertook the ordained
- expedition, and with the aid of her general, Také-no-uchi no Sukuné,
conquered the invaded country. Returning at the end of three years she
gave birth to a son, Ojin, whose advent had been miraculously delayed
during the whole of her absence. She reigned from 201 to 269 a.p., and
was succeeded by her son, to whose passive influence the whole credit of
the Korean Conquest is commonly assigned.
Ojin died in 310, and was deified under the name of Hachiman, as the
national god of battles.
Jingo is said to have lived 100 years, Ojin 111 years, and his successor,
Nintoku, 122 years; and the Emperor Chiuai, as pointed out by Mr.
Chaniberlain in his translation of the Kojiki, was not born until thirty-six
years after the year recorded as that of the death of his father, Yamato-
daké. These figures are sufficient to make us think the incredulity of
Chiuai not altogether unpardonable, and might even justify a doubt as to
the reality of the Korean drama and the existence of the actors who are
supposed to have taken part in it. The fact is that Japanese “ history ”
does not cease to be self-contradictory until it reaches the beginning of the
fifth century A.D., a period which may be regarded as within a few decades
of the earliest use of writing in Japan.
10. The erection of the temple of Hachiman in 1063 in Sagami
province by Yoriyoshi to celebrate his victory over Abé no
Sadat5 and Munéto.
11. Yoritomo at the temple of Hachiman at Tsuruga-oka.
Minamoto no Yoritomo, the half-brother of the Japanese Bayard, Yoshi-
tsuné, was the great representative of the Minamoto (Gen) line, and
142 JAPANESE PICTORIAL ART.

utterly destroyed the rival Tairas (Hei), thus putting an end to the Gempei-
kassen, the long struggle between the factions. He became Sei-i-Tai
Shogun in 1192, and founded the city of Kamakura as the capital of the
Shogunate. He died in 1199, at the age of 52.

281. Makimono, on paper, painted in colours. Size, 870 x 12}.

The Story of Urashima. With text (see p. 105).
1. Urashima capturing the Sacred Tortoise.
2. His descent to the Sea Palace.
3. His interview with the old man after his return to his birth-
place.
4, The opening of the casket in which his wife had enclosed the
seven hundred years passed in the Kingdom of the Sea.
5. The Emblems of Longevity.
Artist unknown. Nineteenth century. The drawings are
probably copied from an older roll.

282 and 283. A pair of Makimonos, on silk, painted in -colours.

Size, 154 x 121.
Scenes from the Genji Monogatari (see p. 113).
A very beautiful specimen of the most decorative manner of the
school.
Painted by Kano To-s1u in the style of the Yamato school.
Signed. Seal. Highteenth century.

284, Makimono, paper, painted in colours. Size, 120 x 123.

The Battle of Yashima.
Artist unknown. Copied from a roll of uncertain date.
The Battle of Yashima in 1185 a.p. was the closing episode of the
Japanese “ War of the Roses,” which had commenced nearly thirty years
before. After the death of the all-powerful Taira regent Kiyomori the
fortunes of his house began to fail, and at last, in 1184, the adherents of
his son were driven by the Minamoto army from their strongholds, the last
of which was the Castle of Yashima, and were forced to stake their final
hopes upon a sea fight at Dan-no-ura in the Straits of Shimo-no-Séki.
The cast of the die was against the unfortunate house of the Tairas.
Owing partly to the valour and address of the Minamoto leader Yoshitsuné,
and partly to treachery in the ranks of the defeated host, the entire clan,
save a few who escaped to Kiishii, were slain or drowned in the crimsoned
waters, where it is believed to this day that from time to time their ghosts
may still be seen, bathed in phosphorescent light, baling the fatal sea
with bottomless ladles.
The account of this bloody battle forms one of the most startling pages
of Japanese history. ‘The principal events in connection with it have been
related by Mr. Griffis in the ‘ Mikado’s Empire,’
 YAMATO-TOSA SCHOOL. 143

285. Makimono, on paper, painted in colours. Size, 459 x 12.

The Story of Yorimitsu and the Spider.
The adventures of Minamoto no Yorimitsu in his quest of the
Demon Spider, terminating with the capture and death of the
monster.
Copied by Iwa-mura Zur-caxu from an old roll by Tosa
NAGA-TAKA (thirteenth century).
An abstract of the text is appended to the Introduction
(p. 109).

286. Makimono (roll), on paper, painted in colours. Size, 368 x 11.

Sketches illustrative of poetry.
These drawings, suggestive, graceful, and insubstantial as
Japanese poetry itself, may be classed with the amateur works
known as ‘Bunjin gwa,’ or ‘Literary man’s pictures, a name
originally applied to the pictures of the Southern Chinese school.
Painted by Yt-cumv. Signed. Seal. Highteenth cen-
tury.

287. Unmounted drawing, on silk, painted in colours. Size, 7} x 73.

Okamé (UzUME no Mixoro).
A female figure in the dress of a Court lady, with a round,
foolish face, holding bells and go-het.
Painted by Tsuni-nrro. Signed. Seal. Nineteenth
century.
Okamé, or Amé no Uzumé no Mikoto, one of the primitive Shinto
divinities, is regarded as an embodiment of the Spirit of Folly. It was
she who danced and sang before the cave to aid her associates in enticing
the Sun Goddess to emerge from her retirement (see No. 1905), and who
sought to propitiate the long-nosed god Saruda-hiko no Mikoto by a
lavish display of her physical attractions, when he appeared likely to
oppose the passage of a divine exploring party.
Her face, with its receding forehead, fat cheeks and small eyes, is
constantly met with in masks; and her figure, in Court attire, with
streaming hair, is a common motive in keramics, ivory carving and other
branches of art.

288 to 292. A set of five drawings on silk, painted in colours.

Size, 74 x 63.
Pictures emblematically illustrating the festivals of the
first, third, fifth, seventh and ninth months.
Painted to exhibit in succession at the appropriate times in a
Kakémono mount.
 ~

144 JAPANESE PICTORIAL ART.

Painted by K6-zan SHO-TEI， Signed. Seal. Nineteenth

century.

293 to 304. A set of twelve unmounted drawings, on paper,

painted in colours. Size, 124 x 17.
Emblematic pictures of the Twelve Months.
Landscapes, with poetical inscriptions.
Artist unknown. Nineteenth century.

305 to 324.. A set of twenty-three unmounted drawings, on paper,

painted in colours. Size, 34 x 932.
Illustrations of Japanese history.
The pictures are painted as fan mounts, and have probably been
removed from an old screen.
Artist unknown. Sixteenth century (?).
325. Unmounted drawing, on paper, painted in colours. Size,
8h x 63.
Scene from the ‘Isé Monogatari.’ <A book illustration.
Artist unknown. Nineteenth century.

326 to 334. A set of nine unmounted drawings, on silk, painted

in colours, with nine poetical inscriptions on ornamental
paper. Size, 72 x 63.
Illustrations to poetry.
Good examples of the formal and decorative manner of the
school. 二

Painted by Sumi-yosut Hoxxi0. Signed. Seal. Eighteenth

century (?).

' 335 to 340. A set of six unmounted drawings, on silk, painted in

colours. Size, 7 x 632.
Portraits of the six celebrated poets. (See No. 343.)
Painted by Ka-no MINE-NOBU in the style of the Yamato
school. Signed MINE-NOBU。 Seal. Eighteenth century.

341 and 342. A pair of unmounted drawings, on silk, painted in

colours. Size, 8} x 63.
Portraits of two poets (Hitomaro and 85j5 Henj5).
Artist unknown. Eighteenth century.
 YAMATO-TOSA SCHOOL. 145

343 to 378. A set of thirty-six unmounted drawings, on paper,

painted in colours. Size 12} x 83.
Portraits of the Thirty-six famous Poets.

Artist unknown. Seventeenth century.

The selection of the famous Thirty-six is attributed to Dainagon Kinto,
a court noble of the eleventh century. The portraits of the group were
first painted by FustwaraA No Nogpuzané in the period Shoji (about
1200 a.p.). Their names are as follows:

.Kakinomoto no Hitomaro. Died 724 a.p.

.Minamoto no Shitago. Died 983, at the age of 72.
.Chiunagon Atsutada. Died 943.
.Mibu no Tadami.
.Fujiwara no Nakabumi.
.Fujiwara no Okikazé. Flourished 911.
Kiyowara no Motosuké. Died 989.
. Fujiwara no Toshiyuki Ason. Flourished at the end of
pe
oe
a
ee
the muti century.
9. Saigu Niogo (poetess).
10. Minamoto no Nobuakira Ason.
11. Minamoto no Munénaga Ason.
12. Fujiwara no Kiyomasa.
13. Chiinagon Tomotada.
14. Isé (poetess). Flourished 886.
15. Minamoto no Shigéyuki. Died 963.
16. Sosei Hishi (a priest). Son of S6j6 Henjé.
17. Minamoto no Kintada Ason.
18. Kino Tsurayuki. Born 884, died 946.
19. Onna Kurédo Sakon.
20. Sakanouyé no Korénori. Died 786.
21. Onakatomi Yorimoto Ason.
22. 85j5 Henjé, or Sada-muné (a priest). Died 890.
23. Sarumaru Taiyu. Died 771.
24, Fujiwara no Tadamitsu.
25. Ono no Komachi (poetess). Flourished 866Oe
26. Ariwara no Narihira Ason. Born 825, died 880.
27. Kino Tomomori. Flourished 900.
28. Nakatsukasa (poetess).
29. Yamabé no Akahito. Flourished ninth century.
30. Taira no Kanémori. Flourished 949.
31. Fujiwara no Motozané.
32. Onakatomi Yoshinobu Ason. Son of Yorimoto.
33. Ochikéchi no Mitsuné.
34, Chitnagon Yakamochi. Died 785.
35. Chiinagon Kanésuké. Died 933.
36. Mibu no Tadaminé. Born 867, died 965.
146 JAPANESE PICTORIAL ART.

A list is given in the Jiki shiho, but differs in a few details from
the above. The dates are in great part extracted from ‘ Japanese
Odes,’ by Mr. F. V. Dickins.

379. Unmounted drawing, on silk, painted in colours. Size,

182 x 143.
Fowls.

Painted by Fusi-wara no Hiro-mini. Signed, San-KEr

Fust Hiro-mint. Seal. Sixteenth century (?).
380 to 382. A set of three unmounted drawings, on paper, painted
in colours. Sizes various.
Scenes from the Genji Monogatari (see p. 113).
Illuminated in the style of the Tosa school. Originally executed
as decorations for small screens.
Painted by Kano OKU-NOBU， Signed. Seal. Eighteenth
century (?).

383 to 416. A set of thirty-four drawings, on paper, painted in

colours. Sizes various.
The Story of Raiko and the Shiuten Doji.
This tale, which belongs to the same class as those of the ‘Seven
Champions of Christendom,’ is of some antiquity, and has been
told and re-told in an infinity of ways by writer and artist during
the past six hundred years. It narrates the most exciting episode
in the semi-fabulous career of a court noble, named Minamoto no
Yorimitsu, better known as Raiko, who earned undying fame as
the Slayer of the Demon Spider and of the man-eating Robbers of
the Rashdmon, and died at an advanced age in 1021. The date
assigned by chronological works to the destruction of the Shiuten
D5ji and his band is the year 947, and there is little doubt that the
Robber demon is a highly coloured portrait of some powerful outlaw
of the time. The imaginative faculty has not been exercised more
unscrupulously than in the historical account of the slaughter of
the Dragon by Dieudonné de Gozon of Rhodes in the fourteenth
century, and in a hundred other grave fictions by the medieval
writers of Europe.
The story is as well known in Japan as that of ‘Jack the Giant-
Killer’ in England. It gave occupation for the pencils of the
Tosas as early as the thirteenth century, and a portion of it ap-
peared in print in 1776 in explanation of some woodcuts in the
Sha-hé Bukuro, by TacuipANA No Mortkuni. An outline in English
was given by Mr. C. F. Pfoundes in the ‘Japan Mail’ a few years
since, and the story has also been related by Mr. Griffis in the
 YAMATO-TOSA SCHOOL. 147

‘Mikado’s Empire,’ and more recently by Mr. F. V. Dickins (see

p. 111).
The present series bears no signature or seal, but probably
belongs to the seventeenth century. They have originally formed
the illustrations of a set of makimonos, but have been divorced
from the text apparently for the reduction of bulk.
A description of the incidents illustrated by the respective
drawings may suffice to convey the main elements of the story.
1. News brought to the Mikado (Murakami Tenn5) of the
continual outrages perpetrated by the demon Shiuten D5ji and his
band.
2. Raiko receives the Imperial Commission to destroy the
monsters.
3. Orisons at the Buddhist shrine before departure.
4. Visit of purification to the Shint5 temple.
5. The ceremony of purification.
The female holding the bells is probably the daughter of the
Kannushi or Guardian of the Temple. The contrast may be noted
between the plain white wood of the Shinto temple and the
gorgeous architectural decorations of the Buddhistic building.
6. Preparations for departure.
Council of Raikd with his six squires. The inferior retainers are
sharpening the swords, preparing food for the journey, and feeding
the horses.
7. The departure.
The band have adopted the disguise of a peripatetic order of
Buddhist priests called Yama-bushi, and are utilising as receptacles
for their armour the portable wooden cases which the priests
are accustomed to carry upon their backs during their professional
excursions,
8. The journey.
The meeting with the Spirit of Sumiyoshi, who appears in the
form of an old man of venerable aspect.
9. (A double picture.)
a. The friendly Spirit entertains the party. He is served with
marks: of profound respect by Raiké himself. -
b. He presents Raiké with a close-fitting helmet to wear
beneath his own, and a poisonous drug to be used for the
purpose of stupefying the monster.
10. The journey continued.
Climbing the mountain pass under the guidance of the Spirit.
11. The same.
Crossing a tree bridge that spans a deep chasm.
12. (A double picture.)
a. The arrival of the band at the borders of a mountain lake.
b. The discovery of a weeping lady washing a bloody garment in
astream. She directs the travellers to the home of the monster.
1 2
148 JAPANESE PICTORIAL ART.

14. The arrival at the gates of the Ogre’s castle.

The heroes receive an ironical welcome from the demon guards.
15. The sensation in the courtyard at the news of ‘the arrival of
the supposed priests.
16. The ante-room. The band awaiting the summons to present
themselves before the Ogre.
17. The Shiuten D5ji The monster has the appearance of a
huge boy attired in Chinese garb; he is leaning upon two youthful
pages and receives the new-comers, while his demon attendants
range themselves respectfully on either side.
18. The hospitality of the Ogre’s castle.
A newly-severed human leg, apparently that of a female, is set
before the guests. Raikd eats with seeming relish while his
comrades look on with stolid countenances.
19. The adventurers prepare saké for their host, who is now
attended hy two richly dressed ladies. It is implied that the
liquor has been duly tempered with the medicament received from
the Spirit of Sumiyoshi.
20. The Orgie. The Shiuten Doji is succumbing to the influence
of the drink. A demon performs a comic dance which is greatly
applauded by his comrades and the heroes.
21. One of the guests volunteers a dance, and by his skill excites
great enthusiasm amongst the demons, who meanwhile indulge in
copious draughts of saké. _
22. The Ogre is carried out helplessly drunk. The heroes con-
tinue to ply the demons, most of whom are already in an advanced
stage of inebriety, and manifest their condition after the manner of
ordinary mortals.
23. The consultation with the captive ladies.
24. The heroes arming for the attack.
Raik6, who is distinguished by the richness of his arms and
accoutrements, is conversing with two of the captives.
25. The band, under the guidance of the ladies, are passing the
drunken guards to enter the portion of the building in which the
Ogre sleeps.
26. The Ogre’s chamber.
On the right is seen the exterior of the apartment. The heroes
are about to push open the sliding-doors. The Spirit of Sumiyoshi
reappears to present them with a coil of rope.
To the left is the interior of the room. The Shiuten Doji resum-
ing his true form in sleep, is seen-as a hideous flame-coloured demon.
He lies supine in a state of drunken stupor, while a number of fair
captives are occupied in soothing him to sleep by gently stroking
his hairy limbs. Some of the ladies make signs that their de-
liverers are at hand.
The room is of large size, panelled with sliding-doors in Japanese
fashion, and along the walls are ranged spears and other weapons
 YAMATO-TOSA SCHOOL. 149

of formidable aspect. The monster is covered with a richly

brocaded quilt. -
27. The attack.
The giant, having been tied during his sleep to the wooden
pillars of the apartment by means of ropes slipped around his
wrists and ankles, has been decapitated by a single stroke of
Raiko’s sabre. The writhing trunk and members, convulsed by a
preternatural energy, have snapped like packthreads all of the
bonds save one—presumably the one brought by the Spirit of
Sumiyoshi—while the severed head, after springing high into the
air, pursued by a spout of blood, has darted down upon 了 aiko like
a beast of prey, seizing the hero’s helmet with its demon fangs.
Raiké, staggered by the concussion, falls wpon one knee, but is
protected from the monster’s teeth by the under cap of steel, the
gift of the friendly Spirit. In the meantime the good knights
have been inflicting fearful gashes upon the struggling frame on
the floor, while the ladies, who had prepared the way for the
retribution, fly in terror from the scene.
The artist, to express the attack upon Raiko, has drawn the
demon’s head twice, once poised in the air at the summit of its
ascent, and again when fastened upon the hero’s helmet, the line of
flight between the two places being indicated by a bloody streak.
The expression of diabolical rage is very forcibly rendered.
28. The combat with the Ogre’s guards.
The demon troop, aroused from their drunken sleep, have no
chance against the brave knights. Raiké, with a placid smile, has
just split the head of one of the most formidable of the crew with a
stroke of his blade, while his companions, with cheerful zest, are
making havoc amongst the remainder. MRaiké’s outer helmet,
spoiled by the giant’s teeth, has disappeared, leaving only the steel
cap which has rendered him such good service.
. 29. Another phase of the conflict.
The sturdy little band have now to encounter a whole horde of
the demon soldiery who have suddenly burst upon them through a
gateway, but their prowess is irresistible; one devil lies cut in two
across the waist, another is cleft to the chin by a mighty nashi-wari
or “pear splitter,” a third has received an equally efficient stroke
upon the nape of the neck, and a swish of a sabre has deprived a
fourth of two of his limbs: the heroes meanwhile, unwounded and
unwearied, await the remainder of their foes.
30. The victorious party have arrived at the demon’s shambles,
and are capturing two monstrous guardians of the place. In the
background the corpses of three women hang from the branches of
a dead tree, and the ground is bestrewn with skulls and bones.
31. The charnel house.
The knights, under the guidance of three of the ladies, have
reached the penetralia of the temple of murder. A _ recently
150 JAPANESE PICTORIAL ART.

slaughtered victim lies upon the ground surrounded by fragments

of human bones, and the caverns hollowed in the rocks around are
gorged with dead bodies piled heap upon heap in every stage of
decomposition.
32. The execution of the prisoners.
A cerulean demon, bound and forced upon his knees for de-
capitation, awaits his fate with a scowl, and a second monster, tied
to a tree, is turning round to snarl at his executioner, who stands
behind him with drawn sword prepared to strike the blow.
324. Homeward bound.
The band, laden with the heads of the Ogre and his chief
followers, are retracing their way through the defiles under the
escort of the rescued damsels,
33 and 34, The triumphal procession.
The heroes, in the array of victory, are riding in procession
through admiring files of patrician spectators, to lay the trophies
of their expedition before the Emperor. Raikd, in the place of
honour, is attended by six pages and armour-bearers, and preceded
by a troop of coolies carrying the demon heads; the huge scowling
face of the Shiuten Daji, borne by two stalwart varlets, leading the
way towards the spot where the Emperor waits to receive his
brave subjects. The roll is terminated by a view of the wheels of
the’sacred ox chariot, the only indication of the royal presence that
the artist has ventured to depict.

417 to 428. A set of twelve unmounted drawings, on paper,

painted in colours. Size, 483 x 193.
Horses in their stalls.
Sketched in ink and sparingly tinted with colour. Compare
with No. 494.
Attributed to To-sa Mrrsvu-snic#. No signature or seal.
Sixteenth century.
429. Unmounted drawing, on silk, painted in colours. Size,
214 x 3384.
Falcon and crane.
Painted by Toyo-nisa, (Popular school?) Signed. Seal.
Nineteenth century.
430. Unmounted drawing, on silk, painted in colours. Size,
382 x 203.
Priests and Court noble.
A Buddhist priest of high rank is seated upon a raised mat in
the background. In front a Court noble hands a folded paper to a
priest of lower grade.
 YAMATO-TOSA SCHOOL. 151

Painted by Kar-un. Signed. Two seals. Calligraphic

inscriptions above the picture. Dated Hare year of Kayei
(1850).
431. Unmounted drawing, on paper, painted in colours. Size,
364 x 22.
Crane and sun.
Decorative design. The stork, with widespread wings, poised in
front of the vermilion disc of the sun. An inscriptiou states that
the original was brought from a foreign country by Minamoto no
Nobu-hidé.
Copied by KI no Tapa-yosut. Signed. Seal replaced by
a Kakihan, or written cypher. Eighteenth century (?).
432 and 433. A pair of unmounted drawings, on silk, painted in
colours. Size, 37 x 163.
Portraits of an old gentleman and lady.
The shaven heads and the rosaries held in their hands indicate
that they have ostensibly retired (Inkiyo) from active interference
in worldly affairs to hold a position with regard to the church
and society not unlike that of the abbé in France.
Painted by Ko St-xer. Signed. Seal. Nineteenth
century.

434, Unmounted drawing, on silk, painted in colours. Size,

437 x 164.
Scene of Court life.
Court nobles in a pleasure-boat upon the ornamental waters of a
palace. A portion of the building, tenanted by two ladies, is seen
in the distance.
The use of conventionalised blue clouds bordered by a golden
mist, may be noted as an important aid to the colour effect of the
picture.
Painted by Warana-Bi DzU-SHO Nao-rirv. Signed.
Seal. Nineteenth century.
435. Unmounted drawing, on silk, painted in colours. Size,
19} x 26}.
Yoshitsuné at the battle of Yashima.
The hero is seen on horseback riding into the water to secure a
floating bow which a party of the enemy are endeavouring to seize
with boat-hooks.
Painted by Sum1-yosnt NAI-KI Hrro-sapa. Signed. Seal.
Nineteenth century.
 152 JAPANESE PICTORIAL ART.

436. Unmounted drawing, on silk, painted in colours. Size, 503

x 214.
The spirits of the pine-trees of Takasago and Sumi-
yoshi.
An aged man and woman in the dress of the Samurai class,
holding a besom and rake. They stand beneath the spreading
limbs of an ancient pine.
Painted by Sum1-yosu1 NAI-KI Hrro-sapa. Signed. Seal.
Nineteenth century.
The song or poem of Takasago is the first of the hundred Utaz com-
posed for performers- upon the No stage. It relates how one Arakida
Tomonari, the guardian of a Shintd shrine of the temple Aso in the
_ province of Higo, betook himself to Kioto in obedience to a divine revela-
tion to seek an elevation of rank. His desires being gratified by investi-
ture with the fifth grade of nobility, he proceeds to mark his rejoicing
at the prosperous result of his journey by making an offering at the
temple of Sumiyoshi.
Two ancient pine-trees that had grown from time immemorial upon the
opposite shores of Sumiyoshi in Tsu, and Takasago in Banshiii, were
the object of much reverence, and had been tenanted by the poetic fancy
of the people with the spirits of a venerable couple, man and wife, who
were known as A7-o7 (a punning term which has the double meaning of
old man and woman, and longevity). Tomonari, arriving at Takasago
with two companions, beholds these Japanese Dryads in the form depicted,
and holds converse with them. The spirits, after chanting in alternate
strains the praise of poetry and long life, embark in a boat in the direction
of Sumiyoshi and disappear in the distance. Tomonari and his com-
panions follow them and arrive in time to be spectators of a sacred dance
performed by the old man in honour of the gods of the great temple there. .
A poetic version of this Utai has been given in an appendix to Mr.
F. V. Dickins’ translation of the Chiushingura.

437 to 439. A set of three unmounted drawings, on paper, painted

in colours. Size, 11} x 36.
The Twelve Animals (JIU-NI Sut).
The animals (rat, bull, tiger, hare, dragon, serpent, horse, goat,
ape, cock, dog, and boar), representing the signs of. the Zodiac, are
depicted in the attire and following the occupations of human
beings of various ages and social grades.
Artist unknown. Eighteenth century.
440. Unmoynted drawing, on silk, painted in colours. Size,
394 x 14.
Scene of Court life.
A. Court noble about to start on a journey is taking leave of two
ladies (one of whom holds a child) before entering his- ox-chariot.
 YAMATO-TOSA SCHOOL. 158

The picture probably represents an episode in one of the semi-

historical novels of old Japan.
Painted by Suwrr-YosHI NAI-KI Hrro-sapa. Signed. Seal.
Nineteenth century.

441. Unmounted drawing, on silk, painted in colours. Size,

334 x 163.
The Fan Dance.
Five dancers, holding fans with emblematic decorations.
Painted by Sumi-yosut NAI-KI Hiro-sapa. Signed. Seal.
Nineteenth century.

442 to 447. A set of six unmounted drawings, on silk, painted in

colours. Size, 423 x 177.
Screen pictures.
Vague pictorial suggestions awakened by familiar verses of
poetry.
. The verdure-clad hills.
. A riverside conversation.
. The cuckoo.
. The cascade.
. The prairie.
Oo
bd
©
oP. The blossoming of the cherry-trees.
Painted by To-sa Mrrsvu-arsv. Signed, To-sa no Kamr
Fusi-wara no Ko-ru. Seal. Eighteenth century.

448 to 461. A set of fourteen unmounted pictures, on paper,

painted in colours. Size, 102 x 121.
Scenes in Japanese history. Extracted from an illus-
trated manuscript.
Artist unknown.

462 to 485. Twenty-four unmounted pictures, on paper, painted

in colours. Size, 91 x 63.
Scenes from the life of Benkei. (See p. 117.)
These sketches are ordinary examples of the illustrations to the
more ambitious manuscript books, for which there was a certain
demand amongst the more wealthy Japanese until within the last
decade. The drawings, like the present set, were usually copied
from works by noted artists of the Yamato school.
Artist unknown. Eighteenth century.
154 JAPANESE PICTORIAL ART.

486. Unmounted drawing, on silk, painted in colours. Size,

103 x 14}.
Cranes.
Artist unknown. Sixteenth century.
487. Unmounted drawing, on silk, painted in colours. Size,
644 x 11}.
The custom of “ Kiokusui.”
Painted by To-cnHd. Signed. Seal. Seventeenth cen-
tury (?).
The “ Kiokusui” was an annual amusement amongst the Kugé or
nobles of the Mikado’s Court. The little flat, lacquered wooden cups,
known as sakadzuki, were partially filled with saké and floated down a
stream, to be taken up by those of the party who were stationed at
a lower part of the current. This proceeding was accompanied by the
composition of verses.

488. Unmounted drawing, on Pele painted in colours. Size,

147 x 313.
The execution of a detachment of the Forty-seven
Ronins.
The story of the Forty-seven Rénins who banded themselves
together to revenge the death of their lord is graphically told in
Mitford’s ‘Tales of Old Japan,’ and Mr. F. V. Dickins has given
a translation of the dramatised version of the facts in the Chiushin-
gura, or “ Loyal League,” a work which offers an invaluable picture
of the habits of thought of the Japanese in the days of their later
chivalry.
The sketch is of especial interest as showing the ceremonials of
Harakiri. The suicide was nearly always nominal, death being the
result of decapitation by a Samurai, to whom was assigned the duty
of executioner, but an abdominal wound of more or less severity
may have been self-inflicted by the victim before the stroke fell.
For a full account of the complicated formalities appertaining to
the act, see Mitford’s ‘ Tales of Old Japan.’
Drawn by Tam-pr. Signed. Seal. Nineteenth century.
489. A set of twelve MS. volumes, with illustrations, painted in
colours, Size, 9 x 6}.
Teikan dzusetsu. The pictorial mirror of Emperors.
Stories from Chinese history.
A good specimen of the MS. Editions de hick of classical works.
The brilliantly coloured and gilded illustrations are probably copies
from older works.
Artist unknown. Eighteenth century.
 YAMATO-TOSA SCHOOL. 155

490. MS. volume, with illustrations, painted in colours. Size,

113 x 83.
The life of Bunsho of Hitachi.
Drawings in the style of the Tosa school, richly coloured and
gilded.
Artist unknown. LHighteenth century.

491. MS. volume, with illustrations, painted in colours. Size,

91 x 124.
The story of the Mugé Ho-jiu Gem. (See p. 103.)
Illustrations in the style of the Tosa school, copied from older
works,
This legend is frequently seen in manuscript, but the writer
has not yet met with a copy in print. As it has been illustrated
by many artists of the Tosa school, an abstract of the text is
given in the Introduction.
Artist unknown. Eighteenth century.

492. Album containing twelve drawings, on paper, painted in

colours. Size, 7 x 6.
Verselets with illustrative sketches.
Artist unknown. LHighteenth century.
493. Album containing twenty-eight drawings and calligraphy,
executed, in colours, upon silk and thin plates of wood.
Size, 10 x 114.
Verselets with illustrations.
The artist is unknown, but the calligraphy is the work of
members of the Imperial family and household. The names of
the contributors are written against the several compositions.
Nineteenth century.

494. Makimono, on paper, painted in colours. Size, 234 x 143.

Horses.
An example of the earlier and most vigorous manner of the Tosa
school. It is characterised by the simplicity of technique and
mastery of touch of the old Chinese painters, and by a power of
expressing action and vitality that is the more remarkable in view
of the disregard shown for the study of anatomical form. The
style is that of Mirsunosu, to whom the rolls are attributed, but
the seals have not been identified. Compare with Nos. 417-28.
Fifteenth century ?
156 JAPANESE PICTORIAL ART.

TOBA-YE.
一
一

Tue “Topa pictures” are humorous caricatures which date from

the twelfth century, and derive their name from the inventor,
Kaxu-yt, or Tosa Sés0.*
Kaxvyt, a distinguished scion of the Minamoto family, was an
abbot of the Temple of Miidera, in the province of Omi, in the reign
of the Emperor Rokujd (1166-1168 a.p.). His more familiar
appellation, Topa Soo (the Toba priest), refers to the monastery
Toba no In, where he had at one time resided. He was an accom-
plished artist in the Chinese style, and appears to have been the first
Japanese painter who made a speciality of comic drawing and em-
ployed it as a means of attacking official dishonesty. His original
works are now extremely rare, but the copies which have reached us
show that his burlesque manner has been carefully preserved.
The Toba-yé introduce us to an aspect of Japanese art which
owes nothing to China, but, for obvious reasons, its merits lie
to a great extent outside the range of the foreigner’s compre-
hension. Even to the European, however, if he be at all acquainted
with Japanese life, the works display a spontaneous drollery that
proves the existence of a remarkable sense of humour as one of
the national characteristics of the people; and although the wit often
drifts into Rabelaisian channels, it is seldom lascivious in intention
and never ill-natured.
The style did not give rise to a “School,” but was taken up by
men of any or no academy who desired to give expression to their
feelings in broad caricature. Its peculiarities of design as applied
to figures consisted merely in exaggerating the size of the head,
giving it a frog-like character by widening the mouth and reducing
the nose to a couple of nostril dots, and elongating and attenuating
* He is sometimes confused with Ono no Sojé, an artist-priest of the Mitsu
sect who lived in the eleventh century.
 TOBA-YE. 157

the limbs at discretion. There was, however, no attempt at por-

traiture, and as the draughtsmanship was freed from all academical
difficulties, the field was open to artistic and inartistic competitors
alike. In some cases, indeed, the sketches gained in comicality by
the startling violations of art canons in which their creators indulged,
but in others the simplification of the process of production led to
floods of mere burlesque scrawls, which could only attract attention
by their extravagance of badness.
At the present time it is no longer adequate to the demands
of the caricaturist. Japan, amongst its manifold adaptations of
European ideas, has elaborated a Punch, and the pictorial criticism
of public personages and events by the Maru-maru Chimbun has
evolved a new force, the capabilities of which may hereafter become
enormous ; but it has destroyed the art of Tosa Sogo.
158 JAPANESE PICTORIAL ART.

TOBA-YE.
一一 人一 一 一

562. Makimono, on paper, painted in colours. Size, 402 x 10%.

Burlesque pictures of the Toba school.
The subjects are very numerous. Some, depending upon verbal
quips, would be unintelligible to the European, but in others the point
is sufficiently obvious. The first sketch shows two furious parties
of Samurai indulging in the safe amusement of abusing each other
from opposite sides of a wide stream. In the next, a couple of
‘‘horny-handed sons of toil” are displaying enormous vigour in
the use of a huge saw to divide a soft melon held by a third, while
a sympathetic assistant fans their sweating brows. In another a
demon is dragging a poor mortal to Hell by a large wen that
decorates his face; and farther on a coolie carrying a parcel of
umbrellas is getting wet through in the effort to shelter himself
with his hat. Many others might be described in illustration of
the Oriental sense of humour.
The drawing of the figures with their big heads and long,
ungainly legs, is quite characteristic of the school.
Painted by Mrya-cawa Cuo-xi. Signed. Seal. Early
part of eighteenth century.

563. Album, painted in colours. Size, 125 x 8.

Comic sketches.
Artist unknown. Eighteenth century.
 ( 159)

CHINESE SCHOOL.
ee

Tue Japanese were undoubtedly indebted to Korean intercourse for

their first introduction to the arts and sciencesof the neighbouring
continent, and many important branches of the arts in Japan
received their early development from the labour and example of
Korean immigrants, but it was from the Chinese that the painters
learned their craft. Nanniv, the first pictorial artist in Japan of
whom any record is preserved, was a native of China, and the
names of the famous masters of the T’ang dynasty, whose works
gave direction to the genius of Kanaoxa,* are even now as familiar
to the educated Japanese as the story of Jingd Kogo and the Korean
conquest. Moreover, although many Korean painters resided in
Japan, and many Korean pictures must have been imported before
the ninth century, neither the men nor the works appear to have
led to the initiation of a definite style or school, while on the other
hand there have been but few Japanese painters of note who were
not proud to register themselves as followers of one or more of
the T’ang, Sung, or Yiien masters of the Middle Kingdom.
The naturalization of the Chinese School may be said to date
: from the time of Kosi no Kanaoxa, and has hence an antiquity of
about a thousand years.
The historical evidence and curious fictions current as to the
power of KaNaoKA in the secular branch of the art, together with
the admirable existing specimens of his talent as a painter of Bud-
dhistic pictures, lead to the belief that the early productions of the
academy were of a very high order, but unfortunately the absence of
any example of his work, or that of any of his descendants, in the
Chinese style, leaves us wholly to conjecture upon this point. His
influence was undoubtedly very great, for long after his death painting
* It has been mentioned that the proficiency of Kos& NO KanaoxA, the first
Japanese artist, has been attributed to his study of the pictures of Wu T'ao-1sz’, the
celebrated painter in the service of the Chinese Emperor Ming Hwang (685-762 a.p.).
160 JAPANESE PICTORIAL ART.

remained a favourite occupation of the courtiers and of many of the

sovereigns, and although the demand for Temple pictures secured the
best efforts of the leading artists, the production of sketches of native
scenery, of illustrations to Chinese and Japanese legends, of repre-
sentations of Court ceremonials, and other subjects requiring some
originality of design, was carried on in Kioto, and found all due
appreciation. The style of execution of these works is not well ，
known, but it was probably at first that of the old Chinese painters,
and gradually merged into the more conventional and decorative
manner of the Yamato school.
The partial eclipse of the pure Chinese school, which followed so
soon upon its rise, was of long duration. Some portion of its light
was reflected in the Yamato style, developed by a pupil of the Kosh
line, but from the end of the ninth to the middle of the fourteenth
century there were few painters of note who strictly adhered to the
rules of the ancient Chinese masters. In the course of the four-
teenth century a number of artist monks won a lasting renown by
simple monochrome or lightly-coloured drawings after the manner
of the old Chinese artists. Amongst these NEN Ka-wod, who
flourished in the early part of the century and is supposed to have
introduced the practice of mounting pictures as “ kakémonos,”
stands highest in the estimation of his countrymen. He was
especially famous for his rapid ink sketches, which are said to have
been indistinguishable from those of the great Sung artist Mun-x1,
and is regarded as the leading pioneer of the great Chinese art
renaissance afterwards consummated by Sxssuit, Suitsun, Soran,
Soca Jasoxu, and Kano MASANOBU，
The early part of the fifteenth century brought powerful aid to
the cause of Chinese art through the medium of a priest of Kidto
named Jo-sersu, who after a profound study of the pictures of the
celebrated artists of the Sung and Yien dynasties, established at the
temple of Sdkokuji, in the Imperial city, a monastic academy for
the promulgation of their teachings, and grouped around him a
body of pupils destined to initiate a new departure in the art
history of their country. Little is known of this painter, and it is
even uncertain whether he was of Japanese or Chinese birth, Ac-
cording to some authorities, he came from China and settled in Japan
in the period Oyei (1394 to 1428); while others claim him as a
native of the province of Kiushiu. His paintings, moreover, are now
 CHINESE SCHOOL. 161

as rare as those of Kanaoxa, and the one or two examples still

shown as his handiwork* leave his artistic status quite undecided;
but as a teacher he had rare success, for amongst the pupils said
to have issued from his atelier, are the founders of three out of the
four schools which monopolised the attention of the artistic world
down to the middle of the last century; Surtpun, Sessuiv, and
Kano Masanosv.
The Honchéd Gwashi states that he was noted for pictures of
landscape, figure, flower and birds. “His style resembled that of
Ba-ven, Ka-xet, Mox-xer, and Gioxran of the Sung, and Ganxr of
the Yiien dynasty. (Ma Yuen, Hia 及WEIT MUH-EKI and Yuu-xren.)
The ancient masters of Japan never studied the works of these
periods; the first to do so was Jésersu, and he became deeply
learned in the art.”
Suit-sun, the only one of the three reputed alumni of Sdkokuji
who is not renowned as the inventor of a school, must be con-
sidered as the real leader of the revived Chinese manner. He,
like his instructor, was a monk of Sdkokuji, and, unlike his fellow-
pupil Sussuit, made no effort to emerge from his priestly seclusion.
The following account is extracted from the Honché Gwashi :一
“The priest SHIDBUN held the rank of Tosu in the temple
Sdkokuji; he also bore the name of SHUN-IEKU, and used a seal upon
which was engraved ‘Exxer Suitsun,’ Ekkei being a place near
the temple Eizenji, in the province of Omi, where he once lived.
His pictures were representations of landscapes, figures, flowers and
birds, sketched in ink or lightly coloured, after the rules of Ba-Ka-
GAN 小 He was perfectly versed in the most profound principles of
Moxxer and Gioxxan, and had studied under Josursu. He never
painted in the Yamato style. In modern times the followers of
Sessnit, Oaur1, and Kano used SHIDBUN as a ladder by means of
which they might reach the altitude of the Sung and Yiien
dynasties.”
A list of his pupils and followers is given on page 182.
The motives of the revived school were almost wholly derived
from Chinese and Buddhistic sources. So thoroughly had the
painters become imbued with the Chinese spirit, that they would
* A picture by J6SETSU has been engraved in the Gwa-ko sen-ran (1741).
+ An abbreviation of the names of Ba-yen, Ka-Ker and GAN-KI (Ma Ytren, H1a
Kwer and Nean-Hwtt.
M
162 JAPANESE PICTORIAL ART.
=

have been at a loss if called upon to make a picture from nature of a

Japanese subject, and it is said that when a certain artist was
ordered to paint a view in Kioto, he was led by force of habit to
people his native streets with Chinese figures. Such an anti-
patriotic bias gave to the Yamaro painters, as well as to the
apostates of modern times, a strong weapon, and even the later
adherents of the school deplored that the beauties of their own
land and its belongings should be neglected, in favour of a country
from which they had then but little to expect. A similar plaint
is poured forth by the popular artist NISHIGAWA Suxitnosu of Osaka,
in an appendix to the Yamato Hii (1742), in which he deplores at
some length the fashion of depicting Chinese scenery and people,
and of painting Japanese figures in such a manner that they look°
like Chinese. He asks pathetically, “Is it not that these persons
(the artists) incline towards a foreign country and despise their
own?” This feeling was probably shared by many, but the dashing
monochromes and lightly-tinted sketches of Surusun and his school
held their own for over two centuries, and the Kano and SSsSHIU
academies during the same period gave powerful support to the
same manner, leaving the Tosa school to fight the battle unaided
on the Japanese side; but near the end of the seventeenth century
the classical school began to show signs of degeneration, and the
defection of Hanasusa ItcHd and many others from the accepted
traditions was a noteworthy sign of the feeling that opened the
way for the artisan-artists of the present era.
A few decades later a new element was introduced, which prac-
tically divided the “ Kara-yé” into two classes. The Goku-zaishiki,
or highly-coloured paintings, which became popular in China during
the Ming period, were for a time little appreciated in Japan, for
the pictures of the Ming artists SHIUSHIBEN (CHIU OHI-MIEN)，RIOKI
(Li-KIT) and others, imported in large numbers about the end of the
sixteenth century, were in the older style; but in the period Horeki
(1751-64), a painter named Ri0-nri-x10, a native of the province of
Yamato, rose into notice as a remarkable colourist in the decorative
Ming style, and made the new method popular amongst his
countrymen.
The Ming picture depended principally upon its attractions of colour,
as did those of the Sung and Yiien period upon their calligraphic
beauties of outline, and in that respect bore some resemblance to the
 CHINESE SCHOOL. 163

Tosa compositions. The drawing though careful, and often graceful,

had little of the force that characterised the work of the Renaissance.
It was usually executed with a fine brush, but considerable variety
existed in this respect, the extremes of which may be seen in Nos.
610-612, by Rrorr10 himself, and No. 683, by a modern artist of
the province of Echigo.
The style attracted many workers, although it did not destroy the
affection of the connoisseurs for the simpler manner of the early
dynasties; and it appears to have produced some effect upon the
mode of painting in other schools, for the Kano contemporaries of
RIoRIEIO adopted a heavier colouring than that before practised;
and in the last fifty years a few of the school have so closely
followed the Ming style that they have lost almost every trace of
the teaching of the old masters of their own line.
A little after the middle of the eighteenth century, the Chinese
school was strengthened by the arrival of some Chinese immigrants,
of whom the best known were I-ru-x1v, Cury-NAN-pPrn, and H6-sar-
yen. Of these I-ru-x1u was the most highly esteemed, on account of
his freely-drawn sketches of landscape in the style of the Yiien
dynasty. He left several famous pupils, the most noted of whom
was Tar-ca-p6 of Kioto. OHIN-NAN-PIN was a merchant, who appears
to have been only a clever copyist, and was surpassed by his pupil,
YIU-HI of Nagasaki. H6-sar-yen was skilled in lightly-sketched
pictures of flowers and birds, but has left comparatively few works.
It was through some of these men that the “Southern” branch of
Chinese art, a style which took its origin near the end of the Sung
dynasty (1280 a.p.), gained an undeserved recognition in Japan.
The works of the “Southern School” were mostly facile sketches,
illustrating poetical ideas, and as resemblance to nature was not a
desideratum, the manner became popular amongst amateurs, chiefly
of the literary class, who if of sufficient distinction found no want
of admiring critics. In its relation to the true Chinese art the
fashion was of no more real importance than the Della Crusca school
as a phase of English poetry, but for a time the parasite was
able to draw some of the strength from the noble stem on which it
grew: and is regarded by a recent highly qualified writer in the
Nichi-Nichi Shimbun as one of the most potent agents in the modern
deterioration of Japanese painting.
mM 2
164 JAPANESE PICTORIAL ART.

In the present century the most prominent painters of the Chinese

school were O-nisut Ket-sa1, HARU-KI Nam-met, Sutvu-x1, and 8S5-RIN，
who, together with the talented amateur INs-cax1, appear to have
been influenced in their drawings by the example of the S106
artists. The pheasants by the first (No. 661), the hawk by the
second (No. 699), and the “Thousand Carp” by the last (No. 818),
will show how closely the old school had approached to the new.
The various styles peculiar to the school are enumerated in the
introduction of the Chinese pictures.

Motives.—The artists of the Chinese School adopted not only the

style but the motives of the famous masters of the Sung and Yiien
dynasties, and drew their historical, legendary and religious inspira-
tions almost entirely from the literature or paintings of the Middle
Kingdom.
A vast number of these pictures claim no more ambitious subject
material than a slight reminiscence of vegetable life, such as a limb
of bamboo or pine, a peony or orchid, or a flowering branch of plum
or peach. Spirited and life-like sketches of birds, of which the
favourites were the crane, the sparrow, the swallow, the quail, the
crow, the hawk, the pheasant, the peacock, the fowl, the cuckoo,
and the wood pigeon, were equally common, and in most cases,
like the last, conveyed to the Chinese and Japanese a poetical
or emblematic meaning, that ensured a lasting popularity for the
motive. The examples selected from the mammalia were more
limited, being almost confined to the horse, the mule, the dog, the
ox, and a long armed-species of monkey. The tortoise and serpent
were the principal representatives of the reptiles; and amongst
fishes, the carp, as an emblem of perseverance, held the highest
place of honour. Insect life, except as an accessory, was rather
the property of a few individual painters than of the art.
The Chinese artist was often remarkably felicitous in the
renderings of the wilder forms of picturesque beauty in landscape.
Silvery cascades, tranquil pools, and winding streams; towering
silicie peaks and rugged headlands; gnarled fantastic pines and
plum-trees, side by side with the graceful stem and feathery foliage
of the bamboo; mansions or pavilions, gorgeous in vermilion and
gold, crowning the heights or bordering the expanse of an inland
 CHINESE SCHOOL. 165

lake, and rustic cottages with straw-thatched roofs nestling in the

cultivated valleys; these were elements that the painter could
assort and reconstruct into a thousand pictures of never-failing
interest and beauty. The Japanese painters of the classical schools,
seduced by the charms of the foreign ideal, were often led to neglect
the more familiar attractions of their own scenery, and without
having beheld any of the spots depicted by the old landscape masters
of China, squandered an infinity of talent and ingenuity in building
up new creations of their own with the material borrowed at
second hand from their neighbours.
The most frequently repeated studies of the figure were calli-
graphic portraitures of Buddhist divinities, Taoist genii, and
historical celebrities in the domains of war, politics or learning;
all designed with immense power, but showing little heed for aca-
demical truth. On the other hand, portraits from life, which were
not rare, were almost always formal, ungraceful, and inexpressive,
and stood at great disadvantage amongst the other pictorial works
of the Chinese painter and of his Japanese imitator.
Mythical zoology held a very important place in Chinese art
motives, evidencing as it did a courage of invention almost un-
paralleled in the pseudo-science of Oriental races, and would richly
repay the investigator who has the knowledge and opportunity
required for pursuing it in the Middle Kingdom itself. A brief
outline on the subject is given on p. 166.
Among the more elaborate compositions of the brush may be cited
those founded upon episodes of history, a large proportion of which
belong to the records of the rise and fall of the Han dynasty
(206 B.o. to 220 a.p.); anecdotes illustrative of filial piety, of
which some will be quoted hereafter; stories of feudal devotion,
typified by that of Yu Jang;* anecdotes encouraging perseverance
in the acquisition of knowledge, exemplified in the lesson
conyeyed to Chang Liang by an aged woman whom he found

* Yu Jang (Jap. Yojo) was a retainer of the King of T'sin, who fell in a war
with the monarch of a rival state. He sought every means of slaying the
destroyer of his lord, but his determination was at length overcome by the
repeated generosity of his intended victim, and being unable to accomplish his
vendetta or to live beneath the same heaven with his master’s foe, begged the
latter to cast him his mantle. Seizing the garment, he stabbed it with his
sword and then plunged the weapon into his own body. ‘The story has been
told by Mr. Dickins in his translation of the Chiushingura (p. 175).
166 JAPANESE PICTORIAL ART.

patiently occupied in grinding down a bar of iron to make a needle ;

stories commemorating readiness of resource, as in that of Szema
Kwang (No. 1585) and the Alexander-like act of the Chinese prince
who solved the problem of an inextricable knot, which a neighbour-
ing state had sent in challenge, by cutting it with a knife (see
Bokuwo Shin-gwa); and tales of physical strength, like that of the
archer, who, mistaking a distant rock for a tiger, drove an arrow
deep into the solid stone. .
A hundred similar “ stories with a purpose” might be quoted, but
the absence of one motive which has afforded so frequent a theme
for writer and painter in the West, is a fact worthy of note. The
chivalry of masculine love as understood by the mediaeval romancers
of Europe appears to find no illustration in Chinese story; nor does
the literature or art of the celestial kingdom echo the noble
examples of female devotion commemorated in the Japanese history
of Késa’s sacrifice of her own life to save her husband from the
murderous hand of a man who wished to replace him in her
embraces ; of the brave and gentle Shidzuka’s worship for her hero
Yoshitsuné; or of the self-immolation of the consort of Prince
Yamato Daké to appease the angry waves that threatened the
frustration of her husband’s expedition; but in place of the delicate
sentiment that strikes us in the pages of early Japanese literature,
there is little in Chinese history relating to the fairer sex but
narrations of the disastrous infatuation of monarchs for vile mis-
tresses, and records of the favouritism, cruelty, and vice of women
whose beauty had raised them to a power which they held only to
abuse.
Mythical zoology has perhaps been developed to a more re-
markable extent by the Chinese than by any other nation. Their
literature teems with strange conceits, some of which appear to be
transcripts of local folk-lore, others appertain to Buddhism or
Taoistic legends, and others are accepted as sober facts of natural
history. Nearly all have been adopted by the Japanese, who have
utilized them as a basis for a rich fund of comic or dramatic essays
by author and artist: in fact, almost the whole of the anthropo-
logical and zoological curiosities rendered familiar to us through
the modern art. works of Japan, are of Chinese origin; but although
the credit of the invention rests with the Middle Kingdom, almost
everything that makes the treatment of the theme amusing or
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interesting belongs to the younger country. A few Chinese myths

associated with Buddhism are of Indian origin, but have been
considerably modified in the course of their naturalization, and
many others remind us of European traditions, but usually belong
to a type of ideas that might arise independently in the minds of
any number of men possessed of a common stock of associations,
The poverty of imagination displayed in the greater portion of these
phantasies would lead the modern thinker to refer their creation to
an era in which the human intellect was in its childhood.
The anthropological myths may be arranged into three classes :一
1. Persons born of woman with or without divine agency, who
develop magic powers that enable them to assume changes of form,
to become invisible at will, to accomplish miracles, and to attain a
fabulous longevity. To this class belong the Sien-nung or Rishi
(see p. 53).
2. Persons distinguished by physical peculiarities of a fabulous
nature, but which do not separate them from the human family ;
such as Giants, who are supposed to attain a height ranging from
thirty feet to any degree permitted by liberality of the story-teller;
Dwarfs, whose stature is limited to nine inches, and who dare
not travel except in bands lest they should be picked up like worms
by their enemies the cranes, but do not imitate the pigmies of
Pliny in endeavouring to limit the multiplication of their foes by
attacking them in ovo; the Perforated men, who dwell eastward of
the Tsoi country, whose breasts are traversed by a canal large
enough to transmit a pole by means of which the richer individuals
of the race may be carried like a sedan chair by hired coolies; the
Stomachless men, who dare not laugh “because they have no sides to
hold”; the Long-armed and Long-legged natives of the country near
the Hung Sheung Tree in the North, who as fishermen rejoice in a
beneficial association of labour, Long-arms mounting upon the
shoulders of Long-legs, who then wades into deep water while his
partner plunges his far-reaching upper limbs to the bottom of the
sea and catches the fish; the Tailed men, who are in the habit of
digging holes where they sit, to provide a receptacle for the
appendage, and protect it from all possibility of injury; the hapless
Women of the land where no males are born and whence no
masculine visitant has ever returned, who become enceintes by
gazing upon the reflection of their charms in the mirror of a well,
168 JAPANESE PICTORIAL ART.

or, like the mares of Lusitania, by exposing their bodies to an

impregnating wind; the Long-necks, whose heads have the power
of quitting the trunk, retaining only a filamentous bond of con-
nection ; the Three-eyed hermaphrodites, who are able to fly in the
direction of the wind; the Long-eared men, who are obliged to sup-
port their pendent lobes with their hands while walking; the Half-
men, who have each but one arm, one leg, and one eye, and assort
themselves in pairs, right and left, for purposes of locomotion ; and,
lastly, a number of other races distinguished only by a variation
from the orthodox provision of eyes, heads, or members. Accounts
of these fabulous relatives of ordinary mankind will be found in
the Wa-kan San-zai dzu-yé, where they are quoted. from Chinese
authorities as instructive information for investigators into geogra-
phical lore ; and in various Chinese books.
3. Transitional beings, who combine with human elements parts
naturally appertaining to the lower animals; such as the Headless
men, with herrings for eyes and a mouth at the navel; the Feathered
men, who people the Southern kingdom ; the natives of the Fun-tan
country, who have men’s faces, but possess the wings and beak
of a bird (probably the originals of the Japanese Tengu); the
Mermen of the land of Tai-yan, who have human heads and arms
attached to the body of a fish, and learn the secrets of the deep
from the murmuring hollow of the conchifer; and an endless
variety of creatures with tiger heads, serpent arms, ox legs, and
other substitutions of brutal for human parts.
The section of mythical animals detached altogether from the
genus homo may be similarly classified: 1. Animals without any
remarkable peculiarities of conformation, but gifted with super-
natural attributes, as the Tiger (see page 51), the Fox (see No.
1803), the Hare (see No. 1016), the Tortoise (see No. 625), the Crane
(see No. 238), &c. 2. Animals differing from their fellows only in
size, or in alterations of the due number of parts. To this group
belong the great serpents, eight hundred feet in length, who eat
elephants ; the two-headed snake killed by Szema Kwang; the nine-
tailed fox that assumed human form as the Chinese concubine
Ta Ki; the four-eared monkey that heralds the deluge; the fish with
ten bodies and one head, whose flesh is a sure preventive of boils;
the two-headed sow, whose duplicate head occupies the place of its
tail, &c., &e. 3. Creatures made up by the amalgamation of parts
 CHINESE SCHOOL. 169

of various animals: like the Dragon (see page 48); the K’i-lin
(see No. 702); the Féng Hwang (see No. 867); the Dog-headed fish,
with a child’s voice, prescribed as an excellent remedy for madness ;
and a host of others which show even less expenditure of ingenuity
in their conception.
Pictorial representations of nearly the whole of these beings will
be found in the Wa-kun San-zai dzu-yé, and in the volumes of the
Hokusai Mangwa.
The Japanese have added a few native members to the Chinese
company, and have so far naturalized some of the latter that little
trace of their origin remains. In the anthropological section may
be cited the Vampire bride, a woman fair and graceful as a lily,
whose charms lure men to her deadly embraces till she has drained
away their life-blood drop by drop (Hiaku Monogatari, 1860); the
Two-mouthed woman, punished for cruelty to her step-daughter by
the development of a second and insatiable maw at the back of her
head; and the Faceless maiden, whose undulating form seen from
behind tempts the wayfarer to gallantries that only bring upon him
the shock of the ghastly discovery. The lower animals are re-
presented by the serpent foe of Jiraiya (see No. 2035); the giant
_ centipede, destroyed by Tawara Toda Hidésato; monster devil-fishes,
carp, apes, and other exaggerations of the kind; the Earth spiders,
who probably represent the troglodytes of old Japan; the Kama-
itachi or Sickle weasel, which from its haunts in rocky solitudes or
abandoned buildings, or during its gyrations in the eddies of the
whirlwind, employs its knife-like fore-claw with terrible effect upon
persons who inadvertently cross its path, the cause of the mischief
meanwhile being as invisible as a Boojum, so that the victim only
learns that he has run foul of a Kamaitachi by the unaccountable
appearance of a gaping wound upon some portion of his person; the
Tanuki or racoon-faced dog, who shares in a minor degree the magic
powers and mischief-making tendencies of the Fox (see No. 2276);
the Nuyé, a compound of monkey, tiger and serpent, shot by
Yorimasa (see No. 1770); and the Thunder animal, which assumes
the form of a wolf, and is occasionally seen by belated travellers
mounted upon the limbs of an aged tree, mingling his deafening
peals with the downpour of the storm. (See No, 2134.)
The Shojo, the Rokurokubi, the Tengu, and the Kappa appear to
have Chinese prototypes, but the ideas have been so extensively
170 JAPANESE PICTORIAL ART.

developed and so frequently utilized as art motives by the Japanese

that they may almost be regarded as new inventions. The Shojo
and the Tengu are referred to in the notes to Nos. 645 and 2125:
the Rokurokubi and Kappa, which are depicted in Nos. 2366 and
2038, merit a more extended notice.
The Rokurokubi or “ whirling neck” is a being in human form
but gifted with the faculty of elongating the neck in such a manner
as to enable the head to appear in places remote from the frame to
which it is attached. It is one of the most unpleasant of the many
weird objects with which the Japanese little one who is conscious
of past misbehaviour, may expect to be confronted in the dim
flickering of the midnight lamp; and many a juvenile culprit is fain
to hide his head beneath the quilts lest he should see the apparition
of a ghastly semi-asphyxiated head at the end of a snaky neck
grinning at him over the top of the screens, or gliding through the
windows to pick up earthworms in the garden, while the appertain-
ing body lies profoundly reposing in some distant quarter of the
room or house. The Rokurokubi itself may perhaps be a common-
place and perfectly harmless individual in waking moments, and
may live on in happy ignorance of the grim divagations of his
vagabond head, until the secret is accidentally discovered by some
terrified eye-witness in his own family, and then his peace of mind
departs for ever.
The scanty basis upon which are built the Rokurokubi inventions
of the comic draughtsman, will be found in a brief notice from a
Chinese work quoted in the Wa-kan San-zai dzu-yé. We are there
told that in a remote portion of the Asiatic continent lies a country
whose natives have the power of despatching their hands and head to
distant places, the wandering parts retaining only a more or less
filamentous connection with the body, as a clue to guide their
return when their presence is again required at home. The head
flies towards the Southern Sea, the left hand in the direction of the
sea in the Hast, and the right hand betakes itself to the marshes
that lie westward. In the morning the head comes back again to
the shoulders, but should the hands meet with a strong wind they
may be delayed and carried far out to sea.

The Kappa, Kawataré, or Kawatachi Otoko, is a creature of

amphibious habits, infesting ponds, lakes, and rivers in various
 ROKUROKUBI AND MITSUME KOZ0. After Hokusai.

ASHINAGA (LONG LEGS), TENAGA (LONG ARMS), IPPI (HALF MEN) AND UMIN (FLYING MAN). After Hokusai.
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 CHINESE SCHOOL. 171

parts of Japan, but with a special preference for the island of

Kitshii. It is usually figured with a tortoise body; hairy, scaly or
batrachian limbs; and a head of a somewhat apish character, the
crown hollowed in the centre to form a cup-like receptacle for a
fluid in which the power of the creature is supposed to reside. This
not very imposing animal is of a malignant and quarrelsome dis-
position, but polite withal, and is wont to challenge to single combat
any wayfarer who may approach his retreat. The man who is un-
fortunate enough to receive such an invitation, which leaves him no
option of refusal, is counselled to preface the conflict with a low
obeisance; the well-bred Kappa feels bound to acknowledge the
salute, and the inclination of its head causes the strength-bearing
fluid in the cranial cup to spill over, leaving the monster feeble as
Antzeus when raised from his mother earth.
The Kappa is believed to adopt a peculiar mode of attacking
unwary bathers, and a method of catching the creature with human
bait has been founded upon this tendency (see Hokusai Mangwa,
vol. xii.). The danger is referred to in a poem written in the ninth
century by Suguwara no Michizané, and the verse was long used in
Kitshii as a protective charm by persons who had reason to enter a
stream in which the animal was supposed to dwell.
Drawings of the Kappa, guaranteed from nature, are occasionally
met with in natural history manuscripts, and even a sober guide-
book like the Tonégawa meishé dzu-yé has inserted a story of a
certain individual of the species which inhabited the Toné River, and
has given its portrait. A scientific roll in the British Museum
collection discusses the matter with due gravity, and presents us
with a circumstantial account of a Kappa four feet nine inches
in height, that was caught in the year 1830 by draining a pond in
the grounds of the Daimid Matsudaira in Yedo. This specimen had
the reputation of a propensity for killing and eating human beings.
A portrait of a similar creature, to which is given the name
of Suiko or Kawataréd, appears in the Todo Kimmé dzu-i, a kind
of pictorial cyclopedia of Chinese objects, published in Japan
in 1802. )

The number of Chinese stories in celebration of acts of “ Filial

Piety” is very great, and has been supplemented extensively by
Japanese authors. A well-known collection, comprising one hundred
172 JAPANESE PICTORIAL ART.

Chinese compositions of this class, has been studied by M. Thiersant,

who has published a translation of twenty-five of the group,* but
the “ Twenty-four ” usually illustrated by Japanese artists, although
drawn from the same larger assemblage as the selection just
referred to, corresponds to the latter only in six instances.
Many stories bearing upon the same topic are found scattered in
educational books both in China and Japan, and of these, one
originating in the former country is especially deserving of quota-
tion. It relates how a selfish man, tired of the trouble and expense
of maintaining an aged and crippled father, determined to take him
to a desert place and there abandon him to starvation. He prepared
a rough cart for the removal, and, aided by his child, a little boy,
reached the destined spot. Setting down the cart with its helpless
burden, he was about to return home when his son begged to be
allowed to take back the vehicle. “What will be the use of it ?”
asked his father. “To bring you here when you are as old as my
grandfather,” was the reply. And the man, recalled to a sense of
shame, wept, and taking back his parent, ever afterwards tended
him with kindnesgs.f
The style of diction of the various anecdotes is characterized by a
somewhat abrupt simplicity that places the moral at once within
the intellectual grasp of the little ones for whose benefit they are
intended. The matter, equally free from complexity, is often noble
and touching, and though in some cases too suggestive of the
nursery to appeal to the adult mind, is, as a whole, well adapted to
the end to be attained. It is impossible to over-estimate the
influence of such examples, impressed as they are in a hundred
ways upon every Japanese infant from its earliest years, until the
principles are accepted as axioms that are unquestioned even where
they are disregarded. The passive obedience and self-abnegation
which the child is so taught to show for all who stand towards him
in the relationship of parent or guardian, not only facilitate the
control of the household and rob the decrepitude of age of much
of its sadness, but in former days prepared the way for the still
more exacting code that regulated the bond between the retainer
and his feudal lord. The feudal system is now ended, but parental
authority has not yet been swept away, and few Englishmen who
* La Piété filiale en Chine.’ Paris, 1877.
t A very similar story will be found in English collections of moral anecdotes.
 REALE? 19:

a
=f)
=< eR

SAISHI (10). ENSHI (17), BINSON (5). TAI SHUN (1).

GOMO (23). KOHAKU.* CHITYU.F SOSAN (6).
OsHo (7). RIKUZOKU (20). TOYEI (12). BUNTEI (3).
TEIRAN (4). KOKO (13). YUKINRO (19). KAKKIO (15).
MOSO (2). KIOSHI (9). RORAISHI (8). yoKO (11).
KOTEIKEN (24). 5SUI (14). SAIJUN (18). SHUJUSHO (16).
THE TWENTY-FOUR PARAGONS OF FILIAL PIETY. (Page 172.) After Hokusai.
* Konaku (Ch. Kiang Keh) appears in place of No. 22. According to Mayers, he was a scholar and public official who lived
under the T:i dynasty (c. A.D. 490), and was distinguished by his learning, uprightness, and filial devotion. “In early youth,
eats ee disturbances of that troublous age, he rescued his mother from a band of brigands by carrying her many miles upon
is back.”
+ CHITYU (Ch. Chung Yeo) here replaces No. 21 in the list. He was a famous disciple of Confucius, who flourished in the
5th century B.c. A saying of his is recorded to the effect that, ‘‘In the days when I was poor I carried ice upon my back for the
Support of those who gave me birth.”—Mayers.
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 CHINESE SCHOOL. 173

have seen anything of the inner life of the Japanese can fail to have
been struck with the proudly respectful bearing of children of all
ages towards their real or adopted fathers and mothers, and the
happy resignation with which these accept—or even welcome—the
enfeeblement of advancing years, when it is so well compensated by
the augmenting consideration of those who are most dear to them.
It is this, too, which indemnifies the woman for the comparatively
obscure position to which she is relegated by her matrimonial
relations, for as a mother she commands a degree of veneration from
her children fully equal to that accorded to her husband and master,
and in her children’s children may claim a multiplied solace.
In the following group it will be observed that the Oriental want
of thoroughness in classification is exemplified by the inclusion of
Stories No. 21 and No. 22, the first of which refers only to fraternal
union, and the second, which, although containing an allusion to
\ filial devotion, turns upon an incident of brotherly self-sacrifice.
No. 1. Shun.
Tai Shun was a son of Ku Sow (the Blind Old Man). Not-
withstanding that he was oppressed by the arbitrary disposition of
his father, and suffered continually from the turbulence of his
stepmother, and the overbearing spirit of his half-brother, his
nature inclined him to respect the laws of filial duty. In obedience
to the command of his parents he betook himself to the Li Moun-
tains to cultivate the land; but while engaged in his menial task
there came to his aid an elephant, who ploughed the ground with
his tusks, and birds, who cleared the fields of weeds. At length
his submissive piety reached the ears of the Emperor Yao, who
bestowed upon him his two daughters in marriage, and chose him
as his successor to the throne (2317-2208 B.c.).
2. Méng Tsung (Jap. M6so or Kobu).
Méng Tsung was deprived of his father during his boyhood.
Once, during the winter months, his old mother fell sick, and in her
illness craved exceedingly for a soup made from the young shoots
of the bamboo. Méng Tsung, knowing not how to gratify her
desire in that season, betook himself to a grove of bamboos, weeping
bitterly while clinging to the yielding stems, when lo! his filial
affection moved both heaven and earth, and suddenly the soil burst
at his feet, and there sprung forth an abundance of succulent shoots.
Hecarried the miraculous gifts to his home and made them into a
174 JAPANESE PICTORIAL ART.

soup for his parent, who, when she had partaken, became restored
to health.
According to Mayers, Méng Tsung was an official of the Tsin
Dynasty in the third century, a.p.
3. The Emperor Wen Ti of the Han Dynasty (Jap. Kan no
Buntei).
Wen Ti was the third son of Kao Tsu of the Han Dynasty (Kan
no Késo). He always acquitted himself of his filial duties towards
his mother with diligence, and during three years while his parent
was afflicted with sickness, he neglected sleep and change of raiment
to watch over her, and himself tasted her medicines. before they
were placed before her. The renown of his filial piety extended over
the whole earth.
Mayers states that Wen Ti is celebrated in history as a prudent
and humane sovereign, whose regard for his people led him to
inculcate and practise the strictest economy. THe succeeded to the
throne 179 B.c., and died 157 3B.0，
4. Ting Lan (Jap. Teikan).
Ting Lan lost his father and mother in his early youth, but his
recollection of their kindness induced him, when he had arrived at
manhood, to carve images in their likeness, and to observe towards
these inanimate memorials all the offices of respect due to the
parents whom they represented. His wife, however, was devoid of
sympathy with his piety, and in jest ventured to prick the finger of
one of the effigies. Blood immediately flowed from the wounded
part, and Ting Lan, thus apprised of the outrage, wept, and put the
woman away from him for ever.
Mayers relates a different version of the story, in which a scoffing
neighbour beats the images during the absence of Ting Lan, but an
expression of displeasure appeared upon the graven features, and
Ting Lan was thus led to divine the insult, which he avenged upon
the perpetrator by a thrashing as sound as it was well-deserved.
He flourished under the Han Dynasty.
5. Min Sun (Jap. Binson or Shiken).
Min Sun was left motherless in his childhood, and his father
married again. Of the second union two other children were born,
and while the stepmother clothed her own offspring warmly in
cotton and fur, she was jealous of Min Sun, and provided him only
with thin garments made of wild reeds. Once while driving
 CHINESE SCHOOL. 175

his father’s carriage he became so chilled by reason of his

scanty raiment, that the reins fell from his benumbed fingers, and
his parent thus led to ascertain the unkindness of his second
wife, determined to divorce her. But Min Sun interceded for her,
saying, “If my stepmother remain, only one son will be exposed to
insufficient warmth, while if she be sent away then will all three
of your children shiver with cold.” The woman, moved by his
generosity, thenceforward reformed her behaviour towards him.
6. Tséng Shén (Jap. Sdsan or Shio).
Tséng Shén was observant of his duty to his mother. Once when
he had departed to the mountain to gather fuel, his parent received
a yisit, and, desiring the presence of her son, she called him, but, as
he did not come, she bit her finger with vexation. At the same
moment, while he was far away, his thoughts were sympathetically
drawn to her, and he at once set out for home with his load of
firewood. On his arrival he knelt down and asked her whether she
had required anything of him, and she replied that a guest had
been with her, and she had bitten her finger to let him know of it.
Mayers describes Tséng Shén as one of the chief amongst the
disciples of Confucius, one of his Four Accessors, and the reputed
author of a classic entitled ‘The Great Learning.’ He was born
506 B.o.
7. Wang Siang (Jap. Osho or Kiuché).
Wang Siang, bereaved of his mother in his early years, had a
stepmother who cruelly spoke evil of him to his father. Neverthe-
less, on one occasion, in winter, when his stepmother expressed a
longing for raw fish, he took off his clothes and lay down upon the
frozen lake, seeking to obtain what she desired. Suddenly the ice
was rent beside him, and a pair of carp appeared at the opening.
He took the fish and, carrying them home, laid them before his
unkind relative.
Mayers states that Wang Siang was a public official under the
first sovereign of the Tsin Dynasty, 265 A.D.
8. Lao Lai Tsze (Jap. Roéraishi).
Lao Lai Tsze was replete with filial regard. At the age of
seventy years he was wont to dress in clothes of five colours (gay-
coloured children’s dress), and play like an infant before his
venerable father and mother that they might forget their years.
On one occasion, when carrying some water into their chamber,
176 JAPANESH PICTORIAL ART.

feigning to slip by accident, he threw himself down, and cried in the

manner of a child to give pleasure to his parents’ hearts.
According to Mayers, he was a legendary character who is said
to have flourished under the Chow Dynasty.
9, Kiang She (Jap. Kidshi) and his wife Chang She (Chéshi).
Kiang She was deeply devoted to his mother, and Chang She also
took pleasure in serving her dutifully. The mother having great
liking for raw fish, and for water from a certain lake, her daughter-in-
law took much pains to gratify her wishes, and with her husband
shared with her their daily meals. At length, one day there sud-
denly burst forth, close to the door of their house, a spring of water
resembling that of the lake in taste, and every morning two carp
rose to the surface and allowed themselves to be taken for the sus-
tenance of the pious couple and their aged mother.
10. Tsui She (Jap. Saishi).
Ts’ui She had a great-grandmother of extreme age, who, having
lost the whole of her teeth, was unable to eat rice. Ts’ui She,
however, came every day to wash her and dress her hair, and
nourished her with milk from her own bosom, so that the venerable
woman’s health was maintained for many years. At length she
was struck down by a severe illness, and before her death she
summoned all her relatives, young and old, to tell them of the
kindness she had received, saying that she herself could not requite
it, but she prayed to the gods that the children of Ts’ui She might
hereafter manifest to their parents the same degree of filial piety
that their mother had lavished upon her.
11. Yang Hiang (Jap. Yoko).
Yang Hiang was a daughter of Yang Feng, of the district of
Nan-king Hien. Once, when she had accompanied her father to a
millet field, a tiger suddenly sprang upon him. Yang Hiang was
but fourteen years old, and unarmed, but she clung to the tiger’s
head and enabled her father to escape from death. Prince
Méng Chao-chi having heard of her deed, inscribed it in front of
her house and bestowed upon her a pension of rice.
In the version of the story given by Mayers, Yang Hiang is
spoken of as a boy, and it is said that his devotion to his father cost
him his life. Temp. Han Dynasty.
12. Tung Yung (Jap. Toyei).
Tung Yung was very poor, and when his father died he sold
 CHINESE SCHOOL. 177

himself as a bond-servant that he might provide money for the

burial. Soon afterwards he met a woman in the road, who asked
him to accept her as his wife. And he took her with him to the
house of his master, and set her to weave silk. In less than a
month she completed three hundred pieces, and then, taking leave
of her husband, disappeared.
Other and more complete versions of the legend state that the
three hundred pieces of silk paid the debt Tsung Yung had incurred,
and that the woman on quitting him announced herself as the Star
Chih Nii, sent by the gods to reward his piety. He is said to have
lived about 200 A.D.
13. Hwang Hiang (Jap. Koko or Bunkid).
Hwang Hiang was but nine years old when his mother died. He
cherished her memory fondly, and earned great esteem by his
affection. At the same time he ministered to the wants of his
father with devotion, and was in every way observant of his duty to
him; in the heat of summer sitting near his pillow to fan his face,
and in the rigour of winter warming the bed for him with his own
body. The Prince Liu Hwoh ordered an inscription to be placed
over his entrance gate, celebrating his filial piety.
14. Wang Ngai (Jap. Osui or Igen).
Wang Ngai was a dutiful son. :After the death of his mother,
who in her lifetime had always been greatly alarmed by the sound
of thunder, he never failed, when a thunderstorm arose, to betake
himself to her tomb, and, kneeling down before it, to cry aloud,
«Fear not, mother! Your son is near.”
He is said to have lived during the Wei Dynasty.
15. Kwoh Ki (Jap. Kakkio).
Kwoh Ki had a son three years old, and was sorely bat by
poverty. His wife, seeing that her mother-in-law deprived herself
of food to give to the child, persuaded her husband that, as they
were too poor to provide sufficient for all, it was their duty to
sacrifice their little one in order that their parent might be saved.
They proceeded to dig the grave in which the infant was to be laid,
when at the depth of three feet there came to light a vessel filled
with gold and bearing an inscription, “The gift of Heaven to Kwoh
Ki. Let it not be appropriated by the government nor stolen by the
people.”
Kwoh Kii is said to have lived in the second century A.D.
N
178 JAPANESE PICTORIAL ART.

16. Chu Show-ch’ang (Jap. Shiujush6).

When Chu Show-ch’ang was only seven years old, his mother,
through the jealousy of her mother-in-law, was separated from her
husband. During fifty years the son and mother did not meet, and
in the meantime the former had attained high rank in the govern-
ment. At length, during the reign of the Emperor Chén Tsung
(Sung Dynasty), he quitted his post and went to the principality of
Ts’in, telling his friends that he would never return until he had
seen his parent. On reaching the city of Tong Chow he found her
whom he sought, her age being at that time threescore and ten.
This story is told in greater detail in Thiersant’s Piété filiale en
Chine.
17. Yen Tsze (Jap. Enshi).
Yen Tsze had been gifted by nature with true filial piety. When
his parents grew old they became afflicted with an eye complaint
for which the milk of the deer was the only cure. To obtain the
remedy, Yen T’sze covered his body with a stag’s hide, and, be-
taking himself to a distant mountain where the animals abounded,
succeeded by stratagem in gaining what he required. On one of
these occasions he was detected by a party of hunters, who
threatened to shoot him, but when he explained to them the object of
his enterprise, they immediately set him at liberty.
He is said to have lived under the Chow Dynasty.
18. Ts’ai Shun (Jap. Saijun).
While Ts’ai Shun was yet a youth his father died, leaving his
mother dependent upon his filial care. A war having broken out
with Wang Méng (25 A.D.) rice became scarce, and he was forced to
gather mulberries for food. Once he was captured by a number of
the rebels, who demanded what he meant to do with the contents of
his basket, and he replied that he was about to give the ripe fruit
to his mother, and reserve the unripe portion for himself. His
captors upon hearing this not only lauded his piety, but sent him
away with a gift of white rice and the leg of an ox.
The stories related in connection with Tséng Shén (No. 6) and
Wang Ngai (No. 14) are also attributed to Ts’ai Shun.
19. Yu K’ien-low (Jap. Yukinro).
Yii Wien-low was appointed governor of Chw’en Ling. After he
had taken up the duties of his office he was attacked by an uneasy
sensation at his heart, associated with profuse sweating, and filled
 CHINESE SCHOOL. 479

with forebodings he at once quitted his post to return home. There

he found his father dangerously ill, and was told by the physician
that if he would know his parent’s fate he must taste the sick man’s
excrement, when, if the savour proved bitter, the disease would pass
away. He tasted, and finding with grief in his heart that it was
sweet, he prayed that night to the North Star that his life might be
accepted in place of his father’s.
He is said to have lived about 500 a.p.
20. Luh Si (Jap. Rikuzoku or Chisho).
Luh Sii, when a child of six years of age, was invited to the house
of Yiien Chow, and some oranges were set before him. Instead
of eating the fruit, the boy secreted two in his clothes. After
a time he rose to take leave, and while he was bowing to his
host the hidden oranges fell to the ground. Yiien Chow in surprise
asked why his little guest was carrying away that which had been
offered him to eat, and Luh Si, kneeling down, said, that as his
mother had a great fondness for oranges, he had intended to give
them to her on his return. Yien Chow, hearing this, applauded his
dutiful mind.
21. T’ien Chén, T’ien King, and T’ien Kwang (Jap. Denshin,
Denkei and Denko).
When the three brothers, T’ien Chén, T’ien King, and T’ien Kwang,
were dividing their inheritance, they came upon a purple rose-tree
which grew in front of the house and flourished luxuriantly. After
a discussion they split it into three parts, and soon afterwards it
died. Then T’ien Chén grieved, and said, “The tree sprang from a
single root, and hence it perished when divided; does not this teach
us that we brothers should shun disunion?” Upon this they re-
united their portions into a common lot and thenceforth prospered.
This story, which has no connection with filial piety, is often
omitted in favour of others of a more appropriate kind.
22, Chang Hiao and Chang Li (Choko and Chorei).
Chang Hiao, with his young brother Chang Li, ministered piously
to the necessities of his mother. Once when food was scarce Chang
Hiao had procured a cabbage, but was beset by robbers while
bringing it.to his home. They were about to slay him, but he
begged them to permit him to carry the cabbage to his mother, who
had eaten nothing that day, promising that he would then return to
die. Chang Li, who was near, heard this, and ran forward praying
N 2

=
180 JAPANESE PICTORIAL ART.

the thieves to kill him and set his brother free. Their captors,
struck with admiration at their behaviour, spared the lives of both.
This story is also very often replaced by another.
23. Wu Méng (Jap. Gom50)，
Wu Méng when but eight years of age manifested his filial piety.
His home was very poor, and in the summer nights, when mosquitoes
abounded, he was stung severely owing to the want of curtains, but
he refrained from driving the insects away, lest they should attack
his parents. Such was the magnitude of his devotion.
Wu Méng in later life became a famous necromancer, and in 312 a.p.
slew a huge serpent that devastated the region of the modern
Kiangsi. He is sometimes represented in pictures crossing the water
upon a feather fan, or riding upon an aérial car drawn by two stags.
24. Hwang T’ing-kien (Jap. Koteiken or Sankoku).
In the period Yien Yew (1086 to 1094), Hwang T’ing-kien
attained the rank of Tai-T'sze, but the sense of filial piety was so
deeply engrafted, that his lofty station never caused him to omit the
attentions due to his mother, and with a true heart he performed a
son’s duty, even to the washing of her chamber vessels with his own
hands.
He is celebrated also as a poet. He died 1105 av. at the age
of sixty. (Mayers.)

The principal artists from the beginning of the fourteenth century

are as follows. The earlier names are principally taken from the
Honch6é Gwashi, the later from the Gwa-jo yo-riaku :一
NEN Ka-wo, or RIO-ZEN (see p. 160). Flourished in the period
Jowa (1345-50).
Ki-pd, a pupil of Ka-wo.
Doy-H0, or Sur0-roxv. “The founder of the temple of Tenriiji.
Painted in the style of Mun-x1. Flourished in the latter part of the
fourteenth century. .
Tessnit, or Toxu-sat. Noted for light sketches, nearly always
in monochrome, of landscape, flowers, and birds.
Mry6-raxv, Suit-raxv, or Rit-suit. Noted for Buddhist portraits
in monochrome, in the style of Mun-x1 and Naan Hwur. It is said
that after having prayed for divine aid in his art, he saw a paper
floating through the air, and seizing it, found it to be a portrait of
Fudé (Atchala). Of this he made a copy daily during twenty years.
 CHINESE SCHOOL. 181

Suro-1. Noted for portraits of Muso-kokushi, the famous Abbot

of Toji-in (1275-1351), under whom he and the three preceding
artists served their novitiate.
Jo-yi, or Gu-xe1. A priest in the temple Jufukuji. Painted in
the style of Mun-x1.
Suit-ad. A contemporary of Ka-wo.
JO-SETSU, or RAN-HO-KEN (see p. 160).

15th and 16th Centuries :—

So-GA Surt-pun. A Chinese artist, contemporary with JOSETSU，
who settled in the province of Hida at the end of the fourteenth
century, and was adopted into the So-ca family. He must be dis-
tinguished from the SHID-BUN previously referred to.
Bon-H6, or GuioKu-yEN-sH1. Noted for monochrome sketches,
chiefly of bamboo and orchid, in the style of Mun-x1. Died 1420.
Sar5-BUN (see p. 161). .
O-auri 85-TAN, a pupil of Sait-sun. He became a priest in the
temple of Sokokuji on attaining middle age, and devoted himself to
the study of the works of Mun-xr (Mokkei), Yuu-xren (Gioku-kan),
HIA Kwer (Kakei), and Ma Tan (Batatsu).
O-GURI Sd-rrrsvu. A pupil or son of Soran. His pictures are
considered inferior to those of his teacher.
Cur0-an, or Bon-sut. Famous for his pictures in monochrome of
Fud6 and Daikoku in the style of Mun-xz. Lived at the end of the
fifteenth century.
Yosut-masa. A Shogun of the Ashikaga line. A great art patron,
and noted as a calligraphist and painter. Died 1490.
So-GA Ja-soxu. A native of Echizen. A pupil of Soaa SHID-BUN。
His vigorous sketches of landscape are amongst the best works
of the fifteenth century. For a good example of his style, see
No. 862. Flourished in the period Bummei (1469-87).
So-cA So-30. A son and pupil of the last.
So-ca Grn-sen. Son of Sogo.
So-GA So-xo. Son of GEN-sEN.
So-cA Su0-30. Son of Soyo. The line was completed by his son
and grandson CHOKU-AN and NI Cuoxvu-an, or CHOKU-AN the Second,
who lived in the sixteenth century.
Ixxiv. A famous priest, who studied art under Soca JASOKU，
He is better known, however, as a calligraphist, and for his eccen-
182 JAPANESE PICTORIAL ART.

tricities of behaviour than as a painter. He died in 1481, at the

age of 87.
Toxt Tom1-xack. A daimio of Mino province. Noted for pictures
of hawks in the style of Suru-pun. His descendants for many
generations were known as painters of falcons.
WAKU, Int no Kamr. A retainer of the Shogun Yoshimasa (1449-
1472). Noted as a painter of horses.
Tsucur-z6. A Kidto artist, in the service of the Shogun Yoshi-
nori. Flourished in the period Yeikid (1429-41).
Ker-a-mi. A contemporary of Tsucut-z0.
SHI-KEN SAIT-D0, named also MATSU-YA Ro-smy. A priest of Sokokuji.
Painted in the style of Muw-x1.
Ko-gsar, named also Riv-wa, or Ret-sen. A pupil of OGURI Soran.
Noted for monochrome paintings of Kwanyin. He is sometimes
known as Bun-xet, this being the name impressed upon his seal.
Kru-yen, named also Rrv-ran, or 了及EI-SAI， A priestly associate
of Ko-saz. Noted for portraits of Kwanyin.
Ker-xetsu. A priest, noted for monochrome sketches of the god
Daikoku. He is said to have travelled in China. This and the nine
following artists flourished about the end of the fifteenth century.
Kan-ter, named also Boxxet, or Nara Hocen. A noted follower
of Suru-sun. He was a priest of the Ritsu sect, and lived in the
temple Shéteiji, in Nara. Famous for lightly-coloured landscapes in
the style of Suru-pun, and figures after the manner of Liane Cui,
of the Sung dynasty. (See Nos. 1136-7.)
Yo-cetsu, or Wa-cioxv. A native of Satsuma. A priest of
Kasagi temple. He followed both Saru-BUN and Sxssuru, and was
noted for monochromes in the style of Mun-x1. (See No. 861.)
SHIN-NO，or NO-A-MI， A retainer at the Court of the Ashikaga
Shogun. One of the greatest of the followers of SHIU-BUN, and noted
also as a poet and calligraphist.
Surn-Ger, or GEI-A-MI， A son of SHIN-NO; painted in the same
manner.
SHIN-85, or So-a-mr. A son of the last. He was a great favourite
of Yoshimasa, whom he assisted in the development of the Tea-cere-
monials (Cha-no-yu). His paintings were in monochrome, or lightly va

coloured in the style of Mun-xr. He is the author of a book called

Kun-tai-kan, in which is a description of the pictures belonging to
the Ashikaga family. (See No. 602.)
 CHINESE SCHOOL. 183

Zi-an. A priest of Sokokuji. Painted in the style of Sur-so.

Suru-K0. A pupil of SHIN-NO, and a founder of the Cha-no-yu.
16th Century :—
To-czun. A follower of SHIU-BUN. Painted lightly-coloured views
and portraits.
To-soun. <A pupil of Survu-sun. It is told that he was originally
a horse-leader in the province of Bizen, and that Suru-sun, during
a visit to Bingo, having noticed that he had some skill in drawing
horses, brought him to Kioto and educated him as an artist. He
became noted for pictures of landscape, flowers, and birds.
To-yo. A priest of the Zen sect. Painted in monochrome, in
- the style of Suru-sun.
Ko-stma Rid-an. A follower of Saru-Bun. So-GA CHoku-an, son
of 8$o-GA SHEO-80, noted for drawing of falcons. His son bore the
same name.
Kaai-tant, or HIO-BU。 A follower of Suru-pun and Szssurv.
GEN-SHO Ko-s1. Noted for portraits of Hotei, in the style of
MUH-KI，
Gi-yven-s0. A follower of Suru-pun and SazsSHIU，Who studied algo
in China. A portrait of Kwansh6jo bearing his name records his age
as 114 years. . “‘ We know,” says the author of the Honchéd Gwashi,
who appears to think this statement demands some comment, “ that
he lived to a great age and enjoyed very good health.”
Ei-saiy-sar. A follower of Suru-puy. Noted for portraits of
Hotei and Mandjus’ri, in the style of Mun-x1.
Cur-pen, or Tan-an. A priest. Imitated the works of MUH-KI
and YUH-KIEN. Originally a follower of Surv-sun.
了 -ru A follower of Suiv-sun. Noted for figures. His seal
bears the characters Toxv-TEI.
Gioxu-p6 Sui-Ha. Said to have imitated Cad Densvu, but was not
known as a painter of Buddhist. pictures. He was chiefly noted for
paintings of storks, flowers, and bamboos.
RiIO-BIN，or Kiy-xer Do-stn. A follower of Suru-sun. Painted
figures, flowers, and birds, in the style of Mun-x1.
Gaxvu-wo. Painted lightly-coloured landscapes in the ‘style of
Suivu-sun. According to some authorities, Gaxu-wo is only another
name of SHIU-BUN.
YU-KAN-SAI or Ko-yersu. Noted for flowers and birds in the style
of Suru-Bun.
184 JAPANESE PICTORIAL ART.

Ser-an. Noted for monochrome pictures of S’ékyamuni in the

mountains.
Ric-rd. A follower of SaHru-BUN and Sxssutv.
Sua-paxu. A priestly follower of Surv-sun. Noted for figures,
flowers, and birds, usually in monochrome.
Sen-KA. A follower of Sarv-suy. Noted for landscapes in mono-
chrome and colours.
Ker-xa. <A follower of Suru-pun. Noted for pictures of flowers
and birds in monochrome.
Su6-xer. Noted for monochrome sketches of Kwanyin.
Cuo-ni0-sar. Noted for monochrome pictures of Hotei. His style
resembled that of YO-aursu.
Gan-Han. A follower of Saru-BUN. Noted for monochrome
sketches of monkeys.
Sx0-x1. Noted for coloured drawings of hawks.
No-no Miya. Noted for monochrome sketches of Hotei, in the
style of Mux-x1.
Totsu-an. A follower of OGuRI S6-ran. Noted for rough mono-
chrome pictures of flowers and birds.
SHO-SHIU. Noted for swift (running hand) sketches of tigers,
bamboos, and rocks.
I-soxu. Noted for flowers and birds.
JI-T0. Noted for monochrome landscape.
Ri-srxi. A follower of Suru-sun. His pictures were usually of
large size, and he was especially noted for sketches of Shoki (Chung
Kwei).
Kan-zan. Noted for sketches of puppies. He was an imitator of
Mao Yura, of the Sung dynasty.
Ro-sHo. Noted for monochrome pictures of the melon and egg-
plant.
Ss-s1. Noted for flowers, birds, and small landscapes painted in
monochrome.
Nirro SoN-RO. Noted for pictures of horses.
So-ro. A follower of Sury-sd. Noted for figures in monochrome.
So-so. A follower of Suru-suy. Noted for pictures of Mandjus’si.
So-xan. A follower of Suru-sun. Noted for pictures of daikon
(a kind of turnip with a tap-root).
Do-ca. A follower of Surv-sun or of SasSHIU Noted for pictures
of female Sennin.
 CHINESE SCHOOL. 185

Sui0-sersu. A follower of Saru-BUN. Noted for monochrome

‘ sketches of Kwanyin.
Rid-ru. A follower of Saru-BUN and Szssuiv.
Jo-xer. A follower of Suiv-sun. Noted for landscapes.
Boxu-in. A follower of Saru-BUN. Noted for portraits.
To-Hon. A follower of Saru-BUN and Sussurv. Known chiefly as
a fan painter.
Suin-so. A follower of Suru-sun. His style is like that of the
SHIN-80 or $0-A-MI before mentioned.
Suiv-yetsu. Noted for monochrome sketches of Shoki.
Gwan-suicut. <A priest. Noted for monochrome pictures of
monkeys, in the style of Mun-xt.
Ki-on. Noted for monochrome landscape, in the style of Yun Kren.
Gan-son. A follower of Suru-pun and Szssuiv.
Ka-tn, Noted for monochrome drawings of Kwanyin, in the style
of Muu-x1.
Sexi-Koxu. Noted for monochrome figure sketches.
NoBU-HARU. Noted for Buddhist figures, comic sketches, «ce.
An imitator of Mun-x1, His descendants had the title of Kasuga
Yédokoro.
SETSU-BO.
Bun-son.
SHO-AN,.
So-man. This and the three previous artists were followers of
SHIU-BUN.
Er-suin. Noted for monochrome drawings of plum blossoms.
Hoso-xawA Hisa-yuxt. A Daimio. Noted as a poet and artist.
Died 1511. é
Ses-s0. A follower of Suru-sun. Noted for monochrome drawings
of birds, landscapes, &c.
SAN-RIU。 Noted for monochrome sketches of orchids.
Riy-x10. Noted for ink sketches of Hotei, in the style of Sury-so.
Gen-raxu. A priest in the temple Bodaisan. His pictures are
in the style of SHIN-80.
RIO-KI， A follower of Sury-sd. Noted for monochrome sketches
of bamboos and sparrows. He must be distinguished from the
Chinese RIO-KI (Li-x1).
Sé-x6. Painted in the style of SHIN-85.
Sar-an. A priest of Sdkokuji. Painted in the style of SEN-85.
186 JAPANESE PICTORIAL ART.

Kryo-rapa. A follower of Sutn-sd. Noted for monochrome

landscapes.
Ha-sen. A follower of Suru-sun. Noted for pictures of Hotei.
Yosui-moro. A follower of Suru-sun. Noted for pictures of
dragons and tigers, in the style of Mun-xt.
Taxt-pa Haru-nosu, or Surm-cen. A famous warrior. Noted
also as a poet, and as a painter in the style of Sum-sd. Died 1573.
17th Century :—
Suin-yersu, Ko-r6, or To-saz. A Chinese priest who settled in
the province of Mito in the period Kwanyei (1624-44). Noted for
sketches in “light ink.” Died 1695, at the age of 56.
Moxv-an, or Ser-r6. A Chinese who lived in the temple of
Obakusan in Uji, and was one of the first adherents of the style of
the Southern Chinese school in Japan. Died 1684, aged 73. His
pictures and calligraphy are greatly valued. See No. 86, Chinese.
TAI-B0 Ser-Kon, or Suo-wo. A Chinese noted for drawings of
bamboos.
SEI-yv.
CuIku-AN, or J6-1n. This artist and the last-named were Chinese
who became priests in the temple of Obakusan in the seventeenth
century.
18th Century :—
Ki-yen (YANAGI-SAWA+) ; named also Rr0-rrcid, or Ko-mr A
native of Koriyama in Yamato, who became celebrated for his
coloured pictures in the decorative style of the Yien and Ming
dynasties, a phase of Chinese art which he brought into favour in
Japan. See Nos. 608 to 612. Died 1758, at the age of 55.
I-ru-x10. A Chinese immigrant, who lived in Kioto in the period
Meiwa (1764-72). He is said to have studied colouring under Ruv-
RIKIO. His most noted works are landscapes, rapidly sketched and
thinly coloured, in the style of the Southern school, but they are too
calligraphic to present much resemblance to nature. A collection of
his sketches was published under the title of [fukia gwa-fa in 1808.
His most celebrated pupil was 工 AI-GA-DO of Kioto.
CHIN-NAN-PIN, named also SEN， and Ko-sar.* A Chinese merchant
* The Chinese artists who worked in Japan are little known in China, and their
names have hence been included with those of the Japanese artists of the Chinese school.
+ The surname of the artist is here and afterwards placed within brackets after
the more familiar personal name.
 CHINESE SCHOOL. 187

who settled in Nagasaki near the end of the last century. His
drawings of bamboo, orchid, plum, and chrysanthemum were very
popular amongst the Japanese, but were probably all copies from
old Chinese sketch-books. His principal pupil was YID-HI of Naga-
saki. See Nos. 42 to 47, Chinese.
H6-sai-yen, named also Sar and Kzo-sar. A Chinese; noted for
drawings of flowers and birds. His pictures show more grace and
freedom of hand than those of Cumy-nan-prn. See No. 63, Chinese.
Hi-Kan-yen. A Chinese ; noted for landscape.
So-sui-can. A Chinese; noted for pictures of landscape, flowers,
and birds.
Trr-pat, or Ko-rer. A Chinese; noted for paintings of flowers
and birds.
Sar0-K6 (Kuma-suiro), named also Har and Ki-ran. An interpreter
in Nagasaki, a favourite pupil of OHIN-NAN-PIN.
Surt-zan. The son of Surd-xo. He must be distinguished from
SAKURAI SuivzAn, a female artist.
Ran-sar (Mort), named also Kiv-x6. Pupil of Sarv-x6. Died 1801.
Kaxu-rer; named also JO-KO and Kar-ean. A priest; a pupil of
SH10-K0. (See No. 653.)
Kaxv-sru, named also NO and To-xoxv. A pupil of Kaxv-rxt.
Kaxv-w06, named also Rid and Komex A pupil of Kaxv-rer.
(See No. 2297.)
S0-sHI-siéKr, named also Kun and Sexxer. A native of Yedo. He
was a pupil of SHIU-KO，and afterwards of Sd-sur-can. Noted for
flowers, birds, and bamboos. The author of the Sodshiséki Gwa-fu
(1769-71). Died 1774, at the age of 77.
SHI-ZAN， The son of S6-sH1-smK1.
T-rex (Hist-Kata). A pupil of Sd-su1-six1, afterwards became an
adherent of the Shij5 school.
Ha-xer (Kaxt-zaxr), named algo Saoaen. A pupil of Sdsut-sixr.
Noted for drawings of birds and flowers.
了
RIO-TAIT (了ATE-BE), named also MO-KIYO and Kan-yo-sat. The author
of two well-known books of pictures, the Wa-kan Zatzu-gwa (1769),
and the Rid-un Chiku-fa (1771).
SHO-KATSU-KAN, named also SHI-BUN and Ser-sar. -A native of Yedo.
To-xer (O-aura). A native of Sanuki. A follower of CHIN-NAN-PIN，
Ki-atoxu (Kuro-xawa), named also JO and Sui-Ho. <A native of
Yedo. Followed CHIN-NAN-PIN. —
188 JAPANESE PICTORIAL ART.

Mriy-zan. A native of Aki. A pupil of 86-SHI-SEKT.

Kwa-ten (MI-KUMA)， named also SHI-KO and Kar-po, of Kaga. A
pupil of Gzx-x6. Noted for paintings of cherry-blossom.
Han-xo. A painter of Nagasaki. Noted for ink sketches of birds,
flowers, and bamboos.
SEN-SHIN-TO, named also Ter or Kan-xen. A native of Osaka.
Studied under CHIN-NAN-PIN.
Cuitsu-zan, named also Moxv-1n, or Joruxo Dos. A priest;
noted for monochrome sketches of bamboos.
HIAKU-SEN (Su-s6), named also SHIN-YEN, H6-stn, and HassEn-pd.
Lived in Osaka. Copied the drawings of the Yien and Ming
dynasties. Died 1753, at the age of 55.
Nan-Kal (Gt-on), named also Yu or Haxv-cioxv. A native of Kishii
province. Followed Rr0-rrc16 and Tar-ea-pd. Died 1751, aged 74.
Bu-son (Sua), named also CHO-KO, Yen, and SHEUN-SEI， A native
of Settsu province, who lived in Osaka, and left many vigorous
and highly original landscape drawings in the style of the Yten
and Ming dynasties. Died aged 67, in 1783. His style was
followed by many pupils and imitators.*
Bar-rer, named also Ki-par-rer, Toxi-atsu, or Kin-nd. A pupil of
Bu-son. Noted for landscape and figure. (See No. 1014.)
GlassEN (written Gursu-sen). A priest of Jakusoji, in the pro-
vince of Isé. Noted for drawings of landscape and of Chinese
worthies, and for a well-known book of portraits of Taoist Rishis,
called Ressen dzu san. His style of painting resembles that of
Bu-son. Died 1809, aged 88. (See Nos. 631, 632 and 1019.)
Nakal-zEN, named also Cur0-zun. Lived in Ogaka. Painted
landscape in the style of the Ming dynasty.
Ran-DEN (Waxk4-G1), named also Gon and Bun-xt. Lived in Kioto.
A pupil of NAKAI-ZEN.
Suxi-sar, of Mino province. Noted for pictures of plum and
bamboo.
Tar-GA-Dd (Ixii-no), of Kioto. A celebrated pupil of RID-RT-KIO and
I-ru-x1u. He is especially noted as a painter of landscape. Died
aged 53, in 1775. His pictures, although so highly reputed in
Japan, are rough and conventional, and show little to please the

* M. Gonse relates that Bu-son burned a hole in his roof for the purpose of
admiring a moonlight effect, but the fire spreading, a quarter of Kioto was sacrificed
to his artistic enthusiasm.
 CHINESE SCHOOL. 189

European eye. A collection of his drawings has recently been

published under the title of Taigadé san-suc ju-sekr. See No. 812.
Bu-zun (Sumi-yi), named also Dé-Kan, Sui-zan, and SHIN-GETSU.
Died 1810. See Nos. 814 and 815.
JAKU-CHIU (I-76), named also Kin and Ker-wa. A native of Kioto,
and one of the most noted artists of his time. He studied in the
Kano and Kérin schools, and imitated the Chinese paintings of the
Yiien and Ming dynasties. Finally he combined the various styles,
and is regarded as the inyentor of a new manner. It is said that he
was especially expert in studies of fowls from life. Died 1800, aged 84.
[-mer, named also Tat-Ker. A priest and a pupil of Jaxucutu.
Painted in the style of the Yiien and Ming dynasties.
Fou-yo (O-sutma), named also Ko or Jru-uz. A seal engraver of
Kioto. Noted for landscape. His wife RA-SEI painted birds and
flowers in the Chinese style. Died 1784, aged 62.

19th Century :一
Go-caku (Fuxu-nara), named also Grn-so and Sur-sin. A native
of Bingo province, who settled in Osaka, and became one of the most
noted followers of the style of Tar-ca-pd. He is still living, but is
of very advanced age. (See No. 640.)
SHIKU-YA (A6xi), named also Saum-merr, Tar-suo, and SHUN-TO0，
A pupil of TAI-GA-D0. Noted for landscape.
Suo-kaku. A priest of Kaibe, in the province of Awa. A follower
of 工 AI-GA-D0.
Kiv-36 (Yama-pa), named also 了 ITSU-GU. A native of Owari.
Painted landscapes, flowers, and birds, in the style prevalent in the
Ming and Yiien dynasties. Known as a clever copyist of old
drawings.
JIN-HO (Mrya-zaxt), named also Ki, Su1sd, and Tsuni-no-sumn.
Noted for ink drawings of bamboos in the style of the Ming dynasty.
Ri-Ker (Yama-sHina), named also JUN-P0. A physician. Noted
for ink drawings of bamboos.
TO-NAN (Asa-1), named also OHO-KU and I-yen. Noted for draw-
ings of bamboos. .
OHIU-KAN (Mizo-no), named also JO-IN，YEN-TAN, .and Tonomo-no-
suki. Noted for drawings of bamboos. This and the three pre-
ceding artists were familiarly known as the “ Four Bamboos of
- Kioto,” in allusion to their skill in painting the tree.
190 JAPANESE PICTORIAL ART.

Ba-can, named also Jo-snin. A native of Osaka, and a priest in

the Temple of Obaku.
THEEKI (ToHI-KAWA)， named also Kun-xur. A native of the province
of Omi, who lived in Kioto. Painted in the style of the Yiien and
Ming dynasties. It is said that he was guilty of forging the
drawings of Tataa-pd, Bu-son, and Jaxu-cnit, and so lost his
reputation.
Gioxu-w6, named also Jry-Kv, Kid-w6, and Gaxv-yo. A priest of
the Jodo sect, who lived in Higashiyama. Noted for drawings of
bamboos, in the style of the Yiien and Ming dynasties.
GioKU-RIN. A pupil of Groxu-wo.
Ser-sHiku (Ki-mura), named also Ké-xryo. A native of Osaka.
Noted for ink drawings of landscape and flowers.
Bo-sat (Kami-pa), named also K6, Sar-rry6, and Bun-zayimon. A
native of Yedo. Noted for ink drawings in the Chinese style.
RIO-DEN (NaxKa-Nno), named also Kan and Ri-sun. A native of
Owari. Noted for landscape.
Bat-aan (T6-T6K1), named also YO and Sui-yu. Noted for land-
scape.
HIKo-BEI (Oxa-pa), named also BEI Sansry. A native of Osaka.
Noted for landscape. Died 1818, aged 74.
Han-xo (Oxa-pa), named also U-zayimon. <A son of Ber Sangin.
Noted for landscapes in the style of the Southern school.
Sut-r6 (I-no-vyi), named algo Suru-so-wo. A native of Owari.
Studied under Hanx6. Noted for ink drawings of bamboos.
Kan-zan (Fuxv-summa), named also SHI and Cmit. Noted for
landscape.
NAN-KEI (NisHI-murA), named also RSEI-KO and San-xryd. Noted
for landscape.
OHIKU-SEFKI (NAGA-Macut), named also Cu6 and Kit-wo. A native
of Sanuki. Studied under Cury-nan-prn. Noted for landscape and
bamboos.
Ken (Hama-pa), named also Kryd-pd. <A physician of Osaka.
Noted for landscape.
Rrd-nen (N6-no), named also SHO-REI，TEI-G6-RIU,， and Kar-sixt.
Studied under I-ru-x1u and TAIT-GA-D0， Died 1828, aged 81.
Un-sen (Ku-suird), named also Suid and Cutt-ru. A native of
Hizen. Noted for landscape.
CHIKU-TO (NAKA-BAYASHI), named also SEI-SHO and 再 AKU-MEI，8&
 CHINESE SCHOOL. 191

native of Owari. Lived in Kioto, and became a pupil of Krvsgé.

Noted for drawings of landscape, plum, and bamboo in the style of
the Yiien dynasty. A collection of his drawings has been
published under the title of Chikuté sanswi gwa ko (1818). An
album of Chinese figures, the Chikutd Sanjin jimbutsu, published
in 1852, is probably from the same hand. Died 1853, aged 77.
Rrrsv-zan (O-xura), named also Koxvu-né. A native of Kioto.
Studied under CHIEKU-TO，and became noted for drawings of land-
scape and flowers. Died 1856, aged 65.
Gern-sHi0, named also Ima-ds1 Hoaun, and Min-zan. A native of
Kioto. Noted for landscape.
工 AI-REI (Ma-aata), named also Kan and Gryd. A native of Owari.
Studied under CHIKU-TO，and became noted for landscape in the
style of the Yiien dynasty.
Bat-rrsu (Yama-moro), named also Rryd and Met-xrvd. A native
of Owari. Noted for drawings of flowers. Died 1857, aged 67.
Gioxu-p0 (Ura-xamt). Noted for landscape.
SHUN-KIN (Ura-Kami), named also Sen and Jussen. Son of
Gioxu-p0. Noted for landscape and flowers.
Ka-zan. A priest of the province of Tosa. A pupil of Saun-xm.
Noted for landscape. :
Rid (Ina-Gaxt), named also Sur-ruxvu. A native of the province
of Etchi. Noted for landscape.
HIAKU-KOKU (O-1a), named also Ex, Kryo-Kar, and Kai-sen. A
native of the province of Nagato. He was a pupil of Grxxat.
Noted for drawings of landscape, figure, flower, and birds in the
style of the Yiien dynasty.
Nan-xo (Harv-x1), named also Kon, Sui-cid, and Yu-suxr. A
native of Yedo. Noted “far and wide” for drawings of landscape,
flowers, and birds. (See No. 693.)
NAM-MEI (Harv-xr) named also SHID-KI，RI-SHO, and Ko-vun-suno.
Son of Nanxo. He is still living, and is known as one of the best
colorists of the Chinese school. His works are chiefly pictures of
landscape, flowers, and birds. (See Nos. 694 to 700.)
Ser-ko (Harv-x1), named also Kon-xur. A younger brother of
Nanxo. Noted for drawings of landscape and flowers.
Un-zan (YAMA-ZAKI)，named also Yosmr. A native of the province
of Noto. Painted landscape, plum, and bamboo, in the style of
TAI-GA-D0， Lived in Kioto.

. | 本
192 JAPANESE PICTORIAL ART.

Sur-butsu (O-Ku-Bo), named also Gryd, Tax-xrw and Sut-sxt-p0.

A native of Hitachi. Lived in Kioto. Noted for ink-drawings of
bamboos.
Jo-TEI (Kasutwa-a1). A native of Yedo. Noted for landscape.
Tar-can, named also Un-ai. A native of Bungo province.
Noted for ink drawings of bamboo, plum, and orchid.
Kaxu-zan (Kami-pa). A native of the province of Kaga. He
first studied in the Ganxv school, but afterwards adopted the style
of the Ts’ing dynasty of China. Noted for ink drawings of plum-
blossoms.
了BEI-ZAN (Kura-tsHt), named also JIN-SUKE.，A native of the pro-
vince of Echigo. Studied under Unszn. Noted for landscape.
Ken-zan (Kura-isu1). The son of the last. Greatly noted in the
provinces of Echigo and Chikuzen for his drawings of landscape.
Curxv-pen (Tano-murA), named also Kun and Gid-20. A native of
the province of Bungo. Noted for drawings of landscape, plum, and
bamboo in the style of the Southern school. Died 1835, aged 58.
Kar-oxu (Nuxi-na), named also Hid and Kimr-suic#. A native
of Awa. Noted for landscape. Died 1863, aged 85.
Kan-sat (Isui-Kawa). A native of the province of Echigo. Noted
for ink drawings of landscape and bamboo.
Trersu-wo. <A priest in the temple of Shuntokuji, in Nagasaki.
Noted for landscape.
Sar-sar (SHIRA-KAMI). A native of Bitchii. Noted for paintings
of landscape, figure, and flowers, in the Chinese style.
Yo-zan (Hama-cut), named also Kori-suict. A native of the
province of Ist. Painted in the style of the Yiien dynasty.
BAI-IN (Ani-Kawa). <A native of the province of Satsuma. Noted
for ink drawings of plum blossoms.
O-x1n, named also K6-yu and TEN-RIO Dost. A native of Shinano
province. Noted for ink drawings of the vine.
YU-GAKU (Oxa). A native of Osaka. Studied under Goeaxv.
Fu-y6 (Suzu-x1), named also YO and Bunxr. A native of Shinano.
He was engaged as an artist by the Daimio of Awa, and lived in Yedo.
He was noted for landscape and figure drawing. Died 1816, aged 68.
Narv-to, named also Si-x1, son-in-law of Fuyo. A native of the
province of Awa. Noted for landscape and figure drawing. Died 1819.
Bamo-x1. Noted for copies of the works of the Chinese artists
of the Yiien and Ming dynasties.
 CHINESE SCHOOL. 193
a

Kur-sar (O-nisut), named also In and Suuxv-mer. A native of

Yedo, who entered the service of the Daimio Okudaira. He was one
of the best artists of the century, and excelled especially in draw-
ings of birds. Some of his works bear traces of the influence of the
Shijd school. See Nos. 661 to 666.
GEN-TAI (Warana-Bé or Ucui-pa), named also Yur, Yen-xr and
Rinru-sopo. A native of Yedo. Noted for landscape. Died 1822,
aged 73. See No. 635.
SEKI-sv1, son of Gren-rar. Painted in his father’s style.
Bar-Ker (Kapu-raxkt), named also Si-1n and Kun-cutu. A native
of Nagasaki who lived in Yedo. Noted for drawings of flowers and
birds, in the style of Curn-nan-pin. See Nos. 615 to 618.
Guss6 (Tani-avcut), named also Si-rarsu and Mo-sen. Studied
under Gussen, and became noted for drawings of landscape and
figure, in the style of his teacher.
Kan-nin (Oxa-pa), named also Bu-x6, Sui-n6, and Sur-ca-wo. A
native of Yedo. “ Famed throughout the city” for drawings of
birds and flowers. A collection of wood-engravings from his sketches
was published in 1835, under the title of “Kanrin gwa fi.” See
Nos. 654 to 656.
Kioxu-Ka (Sui-mipsv), named also Jun and Sur-suo. A native of
Yedo. Noted for drawings of flowers and birds.
了 IN-SEN (Ni-suina), named also Ser and Sui-mer. A native of
Yedo. Noted for drawings of flowers and birds.
Nan-rer (Suzu-x1), named also Jun and Sui-sumn. A native of
Yedo. Studied under Tox6, and became widely renowned for
drawings of figure, flowers, birds, and landscape.
Kwa-zan (Warana-Bit), named also Turt-ser and SrHrAN <A
native of Yedo. Noted both as a painter and a connoisseur of
picture books. According to the Sho-qwa-hai-sui he was rarely
seen, except at artistic reunions in Yedo, and “when he became
drunk he drew pictures. He was very tall—about nine feet
high.” Died 1829, aged 48. (See 670.)
卫 AKU-YEI (Foxv-cur). A native of Kioto. Studied under
a painter named Hacui-pa Ko-surv. Noted for landscape.
S0-rin, named also SHI-Ko or 8d-sut-Ko. One. of the most renowned
of the Yedo artists of the present century. Noted for drawings of
birds and landscape. See Nos. 746 to 748, and 865,
YEI-KAI (Sa-raKi), named also SHU-SON， Ar-sersu, TEN-SUI-wo6,
O
194 JAPANESE PICTORIAL : ART.

and Kry-sri-pd. A noted Yedo artist still living. See Nos. 952
and 719.
GussHd (Cud), named also Gio-rer and Gun-xer A native of
Owari province. He was the author of a collection of colour
prints called the Fukkei gwa fi, published in 1817. See No. 683.
Zat-cu1v (Hara), named also Sut-srv and Ga-yt. A native of
Kioto. He became celebrated for his drawings in the style of the
Ming dynasty, but subsequently adopted the style of the Shijo
school. He died in 1837 at the age of 88. His sons ZAI-SHO and
Zat-met (see Nos, 2332-3) were also attached to the school of
Okio. Died 1837, at the age of 87.
Suru-zan, named algo SzssHo and Kui-cersu. A daughter of
Saxurar SEKKan, and probably the granddaughter of Horn
Surizan (p. 187). She was one of the best female artists of modern
times. See Nos. 743 and 820.
GroKv-on, a female artist; named also To-yoxo. A nativean: Bingo
province. She studied under Hacurtpa Kosniv, and became noted
for drawings of landscape, figure, flowers, and birds.
Sar-xd (H-ma), named also Ki-xr. A female artist; a native of
Mino. Noted for drawings of bamboos and orchids..
Ko-ran. A female artist who studied under OHIEKUTO and became
noted for drawings of flowers and birds,
TO-aIN, named also Yo-sursu; and Api Haya-ra-no, A ssp
Yedo painter of flowers and birds, from whose school issued many
noted pupils, including Ser-sar and Szy-an. See Nos. 760 to 762.
Kisu-1 (Yama-zax1). Noted for paintings of flowers and birds, in
the style of CHINNANPIN.
Sur-an, or Kuri-moro Gen-10, A Yedo physician, who learned
drawing from Kisur, and became greatly reputed as a painter.
“He had always a weakness for wine, and when drunk became
very eloquent” (Sho-gwa-kaa-sut).
Kur-rry, or Sut-mmpsu Hay-susi; named also OHO-IT or GEN-PO.
Pupil of Torry.
Kar-r1v, or Ama-No GEN-NO-J0; named also Masa-Tsuau. Pupil
of Torin.
OrN-zAN (Tsupaxt). Died 1854, aged 53.
- Surt-xr (Oxa-moro). Pupil of ONISHI Kutsar. See Nos. 7 74-5.
Ka-so, or Tacut Kut-z0; named also Kon-xd. A noted Yedo
painter.
 CHINESE SCHOOL. 195

BuN-ocHO (Tanz), called in his later years SHA-SAN-RO, “the old

man who drew mountains,’ from his numerous sketches of Mount
Fuji, was one of the leading painters of the end of the last and
beginning of the present century, and is sometimes regarded as the
founder of a special school which bears his name. He received his
first lessons in art from the Kanos, but a later study of the drawings
of the masterpieces of the Sung and Yiien dynasties converted him
to the parent school. .
He was a versatile artist, and although he adhered so closely to
the Chinese rules that his pictures, especially his landscapes, are
often difficult to distinguish from those of the painters of the Middle
Kingdom, few of his countrymen have displayed as much verve and
originality of design, or a keener appreciation for the wilder forms
of picturesque beauty. His drawings of birds and other animals
occasionally showed a trace of Shijé influence that enhanced their
value, but his most characteristic works are those depicting the
mountain scenery of his own country. Many of his drawings
have been published in the Neppon Meizan dzu-yé, pictures of the
celebrated Mountains of Japan (3 vols. 1810), and in the Tanti Bun-
cho gua fi (2 vols. 1862). He has also illustrated other volumes.
(See Nos. 821 to 836.)
He died in 1840 at the age of 77.
The members of his family known as painters were :一

Bun-si. Son.
Bun-irsu. Son-in-law. Died 1818, aged 31,
SHID-KO, known also as SHun-KEI and SHO-KO。 Sister. Noted for
landscape.
Ran-x6. Sister.
Kirsu-s1. Daughter.
BUN-NI named also Bun-curu. Grandson. Still living. See
No. 888.

His chief pupils were as follows :—

UN-TAN, named also Suo and San-xrrsu. Noted for landscape.
Bu-sut (人 IT-TA).
Bun-y6, or BUN-WO (To-saxa). See Nos. 844 to 847.
BUN-KI (Tana-Bk), named also Srr-Ka-KEN.
BUN-KAD named also Kin-po. A priest.
196 JAPANESE PICTORIAL ART.

Bun-2z6 (Awa-pzv), named also SHU-CHO-D0，

Bun-suin, or ME-GATA Suo-Her. See Nos. 840 to 843.
GEN-NAI (Sa-16), named also SHI-KAN.
SHun-sar, or Kuri-para Ku-z0; named also JuN-YEI and SHU-
KU-KWA.
Ho-zen. Noted for landscape.
Bon-sar, or Ya-pié Ko-go-ro; named also SADA-KUNI。
Bun-son, or MA-DA Sa-KICHI.
The Catalogue includes paintings by many other artists of ability,
whose names do not appear in any of the published lists.
 ( 197)

CHINESE SCHOOL.
一 一， 一 一 一

601. Kakémono, on paper, painted in monochrome. Size,

265 x 14}.
Chinese landscape.
This is a typical example of the idealized Chinese scenery which
impressed so strongly the imaginations of the Japanese masters of
the fifteenth and sixteenth centuries. Such works were amongst
the most daringly “composed” of landscape paintings, and seem
intended rather to note the vague conceptions and reminiscences
of the poetic minds of the artists than to hand down the true
features of any particular locality; yet they suggested distance,
atmosphere, and even chiaroscuro with so much picturesque force
that it would be ungrateful to assault with naturalistic dicta
such striking creations of the brush.
The painting is in monochrome, sketched upon a yellowish
bibulous Chinese paper, once of smooth uniform surface, but now
cracked and discoloured by age. It is vigorously outlined with a
free brush, and the ‘effects of aérial perspective are secured by broad,
delicately softened washes of dilute ink. The elements of the
scene are few and simple. The foreground on the right shows the
edge of a rugged cliff, crowned with giant cryptomerias and chan-
nelled by a torrent that sweeps over its craggy sides in a multitude
of slender cataracts, to plunge with graceful curve into the foaming
basin beneath. A winding stream, spanned by a quaintly-fashioned
bridge, descends through the valley to open into a broad, rapid
river above the falls; and two mountain heights rear their fantastic
peaks into the clear sky high above the mists that veil their feet.
The prospect is overlooked by the gabled roof and curling eaves of
a summer palace; and a philosopher, bent with years, is seen
lingering on his path near the cascade to catch the music of the
hurtling waters.
The same spirit of composition is noticeable in No. 1251 by Kano
MASANOBU。

Painted by Suid-sun. Seal. End of fifteenth century.

198 JAPANESE PICTORIAL ART.

602. Kakémono, on paper, painted in monochrome. Size, 24} x 31.

Landscape. Mountain and lake scenery.
Painted by So-amr (or Kan-caxu). Seal. End of
fifteenth century.

603. Kakémono, on paper, painted in monochrome. Size,7% x 203.

Landscape. Mountain scenery.
The horizontal and vertical planes of the picture are distorted to
conform to the curvature and radii of the circular fan-mount upon
which the subject is painted.
Painted by Rrv-x10. Seals. Sixteenth century (?).

604 and 605. A pair of kakémonos, on paper, painted in mono-

chrome. Size 433 x 19,
Tigers and dragons.
The usual conventional tigers represented in association with the
bamboo. The dragons are enveloped in a storm-cloud, through
which is dimly seen a branch of plum-blossom.
Painted by Ri0-xer. Two seals. Sixteenth century.

606. Kakémono, on silk, painted in colours, Size, 37} x 163.

Han Shan and Shih-te (Kanzan and Jrroxv).
Two rishi, having the appearance of mischievous boys, are
reading a scroll; a besom, the attribute of Jitoku, lies upon the
ground at their feet.
Painted by Nao-xach. Signed Hoxx1d NAO-KAGE， Seal.
Sixteenth century.
Han Shan and Shih-te are described as two earnest devotees of Buddhism,
who for a time looked after the kitchen fire at the temple of Kuo-
Ch’ing-ssu, and used to spend the whole day talking in a language which
none others could understand. They were called the unstable madmen,
and were friendly with no one save the priest, Féug Kan (Bukan Zenji).
Han Shan was so named from his residence in a mountain cave. His
countenance was thin and faded, and his coarse cotton clothes in rags,
Sometimes he would walk gently along the temple corridor, at others he
would shriek, and, looking up at the sky, utter insulting and abusive
language ;but if one of the monks tried to drive him off he would suddenly
turn and clap his hands and run away. His language was that of a
madman, yet not altogether devoid of sense.
After the death of Féng Kan he was visited in the mountains by Lii
Ch’iu, who found him and his associate Shih-te seated by a fire laughing
and talking, Lii Ch’iu bowed respectfully, upon which they rated him
loudly with one voice, and after this made speeches and behaved like
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madmen, finally retreating into a crevice of the rock crying, “Ye men, be
diligent every one of you in practising the law of Buddha” (Satow).
In the Butsu zd dzu-i, Han Shan is said to be a transformation of
Mandjus’ri.
Shih-te (“ picked up”) received his name from Féng Kan, who found him
in the mountains. In the Butsu zd dzu-i it is said that the priest Bukan
Zenji (Féng Kan) once found a child weeping by the roadside and
crying, “I have no home, and am alone.” The holy man brought him
to his temple and took care for his welfare. Some time after, a letter
arrived from a distant temple recommending the foundling, who had been
called Jitoku, to the guardianship of Bukan, and announcing that he was
a transformation of the Bédhisattva, Kenshi Inton.
It is further related that the crows having devoured the food sét before
the guardian divinity of the temple, Shih-te took a stick and beat the
image, saying, “If you cannot defend your own victuals, how can you
protect the temple?” This sentiment, which indicates a kind of method
in the madness attributed to the speaker, has its parallel in an anecdote of
a Japanese priest named Tankwa. Tankwa, when on a winter visit to
the temple of Eriuji in Kioto, finding a lack of fuel, chopped up a
Buddhist idol for firewood, and explained to his host, who was horrified at
the sacrilege, that he had done it to obtain the shari (cremation relics) of
the god. “How can a wooden image give shari?” gasped the proprietor.
“If your god is but a wooden image, of what wickedness have I been
guilty?” rejoined Tankwa. And his host “lost his eyebrows and hair”
through the shock of his emotions.
The two rishis are always represented as juvenile figures poorly dressed
_ in boyish attire, their mischievous faces lined. with the crow-feet of old
age. When in the same picture, they are usually shown in delighted
contemplation of a manuscript roll; if painted separately, Shih-te is
distinguished by the possession of a besom, and Han Shan holds the scroll.

607. Kakémono, on paper, painted in colours. Size, 49} x 22%.

The Three Sages (S’Axyamuni, Conrucrus, and Lao sz’)
discoursing over the symbol of the Yang and Ying.
‘The various emblems of longevity are introduced in different
parts of the picture.
Boldly sketched, somewhat after the manner of SHIUGETSU，and
lightly tinted with colour.
No signature. Seal. End of fifteenth century (?).
This subject forms a very common art-motive. The representatives of
the three systems, Buddhism, Tavism, and Confucianism, are engaged in
the consideration of the mysterious diagram, a circle subdivided by a
sinuous line into two comma-shaped segments, which symbolizes the Yang
and Ying, the active and passive, or masculine and feminine coefficients of
nature.

608. Kakémono, on silk, painted in colours. Size, 413 x 12.

-
Pigeon.
Painted by Rrt-r1-x10. Poetical inscription by Réosho.
Signed, Ri-xi0. Seal. Eighteenth century.
200 JAPANESE PICTORIAL. ART.

609. Kakémono, on silk, painted in colours. Size, 684 x 404.

Flowers and bamboos.
The picture is divided into five portions by four transverse lines.
The four upper segments consist of groups of flowers; the lowest,
of bamboos painted in gold upon a black ground. The colouring
is highly decorative, but appears to have been retouched.
Painted by Ri0-r1-x10. Signed, RI6-RI-KIO (1), Rr-x16 (3),
了 I-YEN (4), and Ko-mr (2 and 5). Dated in the spring of
the cyclical year Mizu no yé Tora (1722 ?).
610 to 612. A set of three kakémonos, on silk, painted in colours.
Size, 423 x 203.
Chinese scenes.
The pictures appear to represent social visits interchanged
between men of learning.
The colouring is highly decorative, and offers a characteristic
example of the style of the artist.
Painted by Rro-ri-x10. Signed, 及 [YEN Sur0-sm, “ drawn
at the house called Kwagioku Shiitoku.” Kwambd seal
(indicating point of commencement of the picture) stamped
in left lower corner in 610 and 611, in the right lower
corner in 612. Certificated by Tani Bunché.

613. Kakémono, on paper, painted in monochrome. Size, 263 x 133,

Mandjus’ri. (See Buddhist School.)
Painted by Yo-YA. Signed J0-Y0-8UI Hoxx16 Yo-va. Seal.
Seventeenth century. |

614. Kakémono, on silk, painted in colours, Size, 42 x 18%.

Shen-nung (Jap. SHIN-NO).
Represented as an aged man with strongly-marked features,
large prominent eyes, flowing beard and hair, and two tubereulated
prominences, or rudimentary horns springing from the head. His
attire consists of a simple robe edged with leopard skin, and the
leafy cape of the Rishi. He is tasting a kind of grass selected
from a number of herbs which he holds in his hand.
Painted by Mryva-moro MusAsSHI， Seal. Eighteenth
century.
Shen-nung, the Divine Husbandman, one of the primitive (mythical)
rulers of China, was the successor of the great Fuh-Hi (Jap. Fukki),
2737 B.c. He was the son of a princess named Ngan-téng, by whom he
is said to have been conceived through the influence of a heavenly dragon
(see Mayers’ ‘Chinese Reader’s Manual’).
 CHINESE SCHOOL. 201

According to the E-hon Koji Dan “he was horned like an ox. He cut
down trees to make tools for the cultivation of the land; he tasted the
herbs of the field and invented the art of medicine; he constructed a harp
of five strings and made known the charms of music; and he instructed the
people in the laws of commerce.”

615 to 617. A set of three kakémonos, on silk, painted in colours.

Size, 86% x 12.
(1.) T’ung Fang-so (Jap. ToBdsaxv).
A merry-looking old man in Chinese dress standing upon the
waves, holdir.g in his hands a large peach.
(2) and (3). Birds and flowers.
Painted by Bar-xer. Signed BAI-KEI Tarra Tsuai-Tani.
I'wo seals. Nineteenth century.
Tung Fang-so, the peach-eater, is identical with the historical per-
sonage of the same name who is described in Chinese writings as an
adviser of the Emperor Wu Ti, and of whose learning and magical powers
many extraordinary stories are related (see Mayers’ ‘Chinese Reader’s
Manual,’ p. 1, No. 689, and Ressen zen den). He is usually depicted in
Chinese and Japanese paintings as an old man hugging a great peach in
his arms and dancing merrily, and in a Chinese book called the Lieh-sien
chwan (1833) he appears holding two peaches and attended by a deer. The
legend upon which the ordinary representation is founded is probably the
following :一
“In the first year of the period Yiien Feng in the Han dynasty
(110 B.c.) the fairy Si Wang Mu descended from her mountain realm to
visit the Emperor Wu Ti, bringing with her seven peaches. She ate two
of the number, and upon the Emperor expressing a wish to preserve
the seed she told him that the tree from which they came bore only once
in three thousand years, but each fruit conferred thirty centuries of life
upon the eater. At that moment she perceived Tung Fang-so peeping at
her through the window, and pointing to him said, ‘That child whom you
see yonder has stolen three of my peaches, and is now nine thousand years
of age.’ A passage in the Sha-hd Bukuro adds: ‘'ldbisaku is probably
identical with Jurdjin.’ ”
The Peach-tree (T’ao) is an emblem of marriage and a symbol of
longevity. The peach-tree of the gods yields the fruit of immortality, and
that which grows near the palace of Si Wang Mu bears fruit that ripens
but once in three thousand years, and confers that term of life upon those
who are fortunate enough to taste it. The gum of the tree mixed with
mulberry ash is used as an elixir vite by the Taoists (see Mayers’
‘Chinese Reader’s Manual,’ p. 1, No. 707). In the Nojiki Izanagi is made
to repel the Eight Thunder deities and the Warriors of Hell, who pursued
him when he sought his wife in the Infernal regions, by casting at them
three peaches that were growing at the base of the “Even Pass of
Hades” (the representative of the Styx). See Transl. of Kojiki by
Mr. B. H. Chamberlain. The idea of the mystic power here assigned to
the fruit was probably of Chinese orizin.
202 JAPANESE PICTORIAL ART.

618. Kakémono, on silk, painted in colours. Size, 883 x 133.

Birds and flowers.
Painted by Bar-xer. Signed Bat-xer Tarra Tsuai-TaNnu.
Two seals. Nineteenth century.
619. ‘Kakémono, on silk, painted in colours. Size, 21% x 253.
Birds and flowers. mek
Painted by Bay-xer. Signed. Seal. Inscription, “Gem
house. A picture of prosperity and nobility.” Nineteenth
century.

620. Kakémono, on silk, painted in colours. Size, 40} x 163.

“ Plum-flower revelry.”
A Chinese landscape. ‘A valley intersected by a winding stream
that descends from the mountains in the distance to form a lake on
the broad plain below. By the water-side are seen groups of sages
feasting and making merry amidst the blossoming plum-trees of
early spring. _ (See also Nos. 22 and 23 Chinese.)
Painted by Bun-niv. Signed. Seal. Nineteenth century.
621. Kakémono, on silk, painted in colours. Size, 51 x 24}.
Flowers.
Painted by OHIN-ZAN. Signed. Seal. Seal indicating
point of commencement at the lower right-hand corner.
Nineteenth century.

622. Kakémono, on silk, painted in colours. Size, 39% x 11}.

Peony.
Painted by Cutn-zan. Signed. Seal. “Copied at Takwa
Hall on the eighteenth day of mid-autumn in the cyclical
year Hinoto-i” (1827).
623. Kakémono, on silk, painted in colours. Size, 32} x 114.
Birds and flowers.
Painted by Curn-zan. Signed. Seal. Nineteenth
century.

624. Kakémono, on silk, painted in colours. Size, 56 x 272.

Birds and flowers.
Painted by OHIN-ZAN。 Signed. Two seals. Seal indi-
cating point of commencement at right lower corner.
Nineteenth century.
 CHINESE SCHOOL. 203

625. Kakémono, on silk, painted in colours. Size, 413 x 171.

The Hundred Tortoises.
A multitude of tortoises swimming towards the rocky shore of
Mount Horai. Some have the golden filamentous caudal appen-
dage, which Chinese fable assigns as an indication of extreme age.
Painted by CHI-HARU。 Signed. Seal. Nineteenth century.
The Tortoise (Ch. Kwei; Jap. Ki or Kamé) is enumerated by the Chinese
as one of the four supernatural creatures. The first and greatest of the
tribe is the Divine Tortoise, which is variously represented as an embodi-
ment of the star Yao Kwang in Ursa Major, or as a descendant of the first
dragon. It was this being that displayed to Yii the Great the mystic
writing of the River Loh.
Like its sacred associates the Dragon, the Tiger, and the Phenix, it is
supposed to attain a marvellous longevity (sometimes stated at five
thousand years), and after reaching a certain age to bear the sign of its
patriarchal dignity in the shape of a hairy tail. It is said to conceive by
thought alone, whence in China the expression “ progeny of the tortoise” is
used as an euphemism for bastard. As an emblem of strength it appears
in Hindoo legends supporting an elephant, which in turn bears the world ;
in China it is frequently sculptured on stone as the support of huge
monumental tablets (Mayers); and in Japanese pictorial art it appears
bearing on its back the mountain abode of the immortals (Mount Horai)，
or a rock upon which repose three Sacred Gems. As an emblem of longevity
it constantly appears as the associate of the god Fukurokujiu and of the
spirits of the pine-trees of Takasago and Banshiu; as a privileged
denizen of Mount Horai; and as the steed of the Rishis Koan and ROko.
The carapace of the tortoise is an attribute of two mythical creatures,
the Kaiba, or sea-horse, and the Kappa, a somewhat monkey-like denizen
of the lakes and rivers.

626. Kakémono, on silk, painted in monochrome. Size, 41 x 12.

Bamboo. A stout stem with drooping branches.
Painted by CuO-pr “on a summer’s day in the year of
the Snake.” Signed. Two seals. Seal indicating point of
commencement at the lower left corner. Nineteenth
century. |

627. Kakémono, on silk, painted in colours. Size, 35} x 273.

Chinese landscape.
A palace seen through the branches of the pines and other trees
which occupy the foreground; in the distance are a lake and
mountains.

Painted by 了 IO-RI Cud-Kd. Signed. Seal. Early part

of nineteenth century.
204 JAPANESE PICTORIAL ART.

628. Kakémono, on silk, painted in monochrome. Size, 45} x 111.

Landscape with bamboos,
Painted. by Hira-no Dut-xd. Signed Dzt-x6. Seal.
Early part of nineteenth century.
629. Kakémono, on silk, painted in colours. Size, 428 x 213.
Confucius and his pupils.
The sage with his disciples stands before a framework on which
are supported three bell-shaped cups slung by chains, attached about
midway between the brim and bottom. One of the cups, which
has been overfilled, has just turned over, and is emptying its
contents.
Painted by Gaxu-rin. Signed. Seal. Poetical inscrip-
tion. Nineteenth century.
It is said that Confucius, when on a visit to the tomb of the Emperor
Hwang Kung, saw three vessels suspended in such a manner that they
remained erect and steady while moderately filled, but hung loosely and
askew when empty, and capsized, losing all their contents, if overfilled.
This apparatus he explained to his disciples as a moral emblem of the
value of moderation in all things,

630. Kakémono, on silk, painted in monochrome, Size, 17} x 214.

The Dragon of Mount Fuji (“ Fus1-xosur no R16”).
A dragon, enveloped in a cloud of serpentine form, is seen flying
through the air towards the summit of the mountain.
Painted by GEN-KEI， Seal. End of eighteenth century.
631. Kak‘mono, on silk, painted in colours. Size, 453 x 16.
Portrait of T’ao Yiien-ming (Jap. 工 DYEMMET).
A Chinese sage holding a chrysanthemum. Sketched in ink and
lightly coloured. ;
Painted by GassEN， Signed. Two seals. End of
eighteenth century.
T’ao Yiien-ming, the great-grandson of a famous Chinese statesman
named T’ao K’an, was noted no less as a scholar and poet than for his
devotion to the wine-cup. He received an appointment as a magistrate,
but eighty days afterwards chose to resign his seals in preference to “ bending
the back” on the arrival of a superior functionary, remarking that it was
not worth while to “crook the loins” for the sake of five measures of rice
(Mayers). Retiring into private life in 420 a.p., he adopted the name of
the “Sage of the Five Willows,” in allusion to the trees which he had
planted near his house, and ended his days drinking, playing upon the lute,
and making verses amidst the chrysanthemums that embellished the
garden of his retreat (Sha-ho bukuro). He died 427 a.p, at the age of 62.
 CHINESE SCHOOL. 205

632. Kakémono, on silk, painted in colours. Size, 41} x 141.

Ning Chi (Jap. Nuisiixr) reviling the Government.
A Chinese peasant with a mocking expression of countenance,
standing by the side of an ox.
Painted by Gussen. Signed. Two seals, End of
eighteenth century.
Ning Chi was a peasant who was once overheard by the Duke Kwan
Kung to sing a song, railing at the government in good set terms, and
beating time the while on the horns of his ox. His hearer, struck with the
penetration and justice of his opinions, appointed him his chief counsellor,
a promotion which Ning Chi justified by discharging a hostile mission
against the rival Duke of Sung with so much diplomacy that he obtained
a bloodless victory for his master.

633. Kakémono, on silk, painted in colours. Size, 554 x 20%,

Kwan Yii and attendants (see No. 218).
The figure of the hero is chiefly remarkable for its great height,
and for the length of the beard, which reaches down to the thighs.
Painted by Gxssd. Signed. Two seals. Early part of
nineteenth century.

634. Kakémono, on silk, painted in colours. Size, 47} x 17}.

Peacock and peony.
Painted by Grtsu-Hd. Signed. Two seals. Commence-
ment of nineteenth century.
635. Kakémono, on silk, painted in colours. Size, 39 x 13.
Plum-blossoms,
A blossoming branch of plum thrown athwart the face of the
moon.
Painted by UcHI-DA GEN-TAL Signed GEN-TAI San-srn.
Seal. Nineteenth century.
The association of the plum-blossom with the moon is common in
Japanese pictures. The plum is regarded as a symbol of longevity, in
which capacity it is frequently depicted with the pine and bamboo (Sho-
chiku-bai). The beauty of its blossom, which appears in late winter
while the snow is yet on the ground, has been celebrated in innumerable
verses by Chinese and Japanese poets.

636. Kakémono, on silk, painted in colours. Size, 44 x 162.

Peacock and peonies.
Painted by Guioxu-yrr. Signed. Seal. Early part of
nineteenth century.
206 ° JAPANESE PICTORIAL ART.

637. Kakémono, on silk, painted in colours. Size, 43} x 163.

Flowers—plum-blossom, chrysanthemums, peonies, &c.
Painted by CHO-AN Gun-x1. Signed. Seal. Nineteenth
century. )

638. Kakémono, on silk, painted in colours. Size, 84 x 184.

Fowls and bamboos.
Painted by TAI-BIN-SAI GEN-CHI (Kano School.) Signed.
Two seals. Nineteenth century.

639. Kakémono, on silk, painted in colours. Size, 50 x 16%.

Golden-crested pheasants, with peonies and plum-
blossoms.
Signed GA-RO SAN-JIN (a nom de pinceaw). Seal. nd
of eighteenth century.
640. Kakémono, on silk, painted in colours. Size, 351 X 123.
- Lii Pung-pin (Jap. R1d-r0-n1y).
A Chinese figure with fan and sword.
Painted by Go-caxu. Signed. Seal. Nineteenth century.
Lii Yen or Lii T’ung-pin was a Taoist Rishi who lived in the eighth
century A.D. He was instructed in the secrets of the genii by Chung-li
Kuan, and afterwards became the subject of many extravagant tales. In
the twelfth century temples were erected to his honour, and were dedicated
to his worship under the designation of Chang Yung (see Mayers’ ‘ Chinese
Reader’s Manual,’ No, 467). He is usually represented as a dignified
figure armed with a sword, or crossing a river supported by the weapon.
In the Ressen zen den he appears borne upon a cloud which overhangs
the waves.

641. Kakémono, on silk, painted in colours. Size, 38} x 131.

Lao Tsz’ (Jap. 有全0-SHIT) riding upon an ox.
The philosopher is represented, in accordance with Chinese
pictorial tradition, as a venerable man with lofty brow and flowing
beard, seated upon a draught-ox. The exaggerated elevation of the
forehead usually represented is here reduced to moderation.
Painted by Gexxid. Signed. Seal. LEarly part of
nineteenth century.
Lao T'sz’, the founder of the obscure philosophy of the Taoists, which
has divided the empire of Chinese ethics and religion with the con-
temporary evolutions of Confucianism and Buddhism, was born, according
to Chinese records, in the second month of the Dragon year of Wu Ting
1324-1265 (B.c.). The Messen zen den, after detailing the various
names by which he was known in previous states of existence,-says that
 CHINESE SCHOOL. © 207)

at his birth he had a white head, two horns like those of an ox upon his
brow, long ear-lobes, and square eyes; moreover, his nose had two bones
and there were three apertures in each ear.
He is-usually drawn as a venerable man with bald capacious head, long
snowy beard, and enlarged ear-lobes,* and is represented either riding upon
an ox on his Western journey in 1131 8.c., discoursing upon the symbol of
the Yang and Ying with Confucius and S‘Akyamuni, or as one of the wine-
tasters in the picture of the “Three Religions.” His reproof of the
Emperor, who had sought to awe him by a haughty boast of his power of
“和 bestowing wealth or taking it away,” is occasionally the subject of a
painting. The sage floating in the air, high above the head of the
astonished monarch, is asking proudly from his elevation, “Am J, then, cf
those people whom: you can make rich or poor ?”
An account of his life and doctrines will be found in Mayers’ ‘ Chinese
Reader’s Manual,’ p.1, No. 836. His work, the ‘Tao Teh King,’ has been
translated into English, French, and German.
* A sign of a divine being. The Buddhist saints and Déva are represented
with large ear-lobes.
642. Kakémono, on silk, painted in colours. Size, 423 x 15.
Birds.
Painted by Gioxu-rex. Signed Gioxu-rer DO-IIN SI-RIO.
Seals. Nineteenth century.
643. Kakémono, on silk, painted in colours. Size, 61} x 28.
Chinese landscape. A storm.
A rural scene. The rain is pouring in sheets from the low, dark
_ clouds, beating down the strong branches of the cryptomerias, and
swelling the winding stream into a torrent, while belated wayfarers
are seen flying in haste to the shelter of a wayside hut.
Painted by Han-xd. Signed Han-xd Foxrxrrsv. Two
seals. Dated in the cyclical year Kanoto Tora (1801).
644, Kakémono, on silk, painted in colours. Size, 39 x 13}.
Martin and willow (Tsuzpaxo TO Yanaat).
Painted by Hayasut Tapa-tomr. Signed §6-pd. Two
seals. Seal indicating point of commencement at left lower
corner. Commencement of nineteenth century.
The subject is one of the numerous associations of ideas found in
Japanese and Chinese pictures. In many cases the connection between
the two elements of the composition is by no means obvious, but probably
its origin may often be traced to some classical verse or expression.

645. Kakémono, on silk, painted in colours. Size, 233 x 373.

Shojo revelry.
A number of boyish figures with long red hair are grouped
around a huge earthen pot filled with saké. One of them is postur-
ing merrily upon the rim of the vessel, while two others beat
208 JAPANESE PICTORIAL ART.

time to the performance below, and the rest are rolling upon the
ground in various stages of intoxication.
Painted by Hxi-s0 SHIT-SAN Hut-yen. Signed. Seal. Eigh-
teenth century.
The Shdjs is a mythical creature supposed to live by the sea-shore.
The fishermen are said to take advantage of its weakness for saké to entrap
it in order to extract a dye from its long red hair, and its blood is also
used as a dye by the ‘ Western foreigners.’ In popular art it appears to be
a type of jovial and reckless intemperance. ，
It is delineated in the Butsu zd dzu-i (vol. iv.), which states that
“ According to the book Jnné, the Shdjos are like monkeys, but have
human faces, and voices like children; they can talk intelligibly, and are
fond of saké.”
The original account of the animal is drawn from a Chinese book on
natural history, in which its habits and characteristics are fully described.
646. Kakémono, on silk, painted in colours. Size, 50} x 191.
Fowls.
Painted by Hrrrd SPzN-TEI， Signed. Two seals. Nine-
teenth century.
647. Kakémono, on paper, painted in colours, Size, 363 x 121.
Kwan Yii (see No. 218),
Painted by K6é-xwa-sar. Signed. Two seals. Nine-
teenth century. |
648 and 649. A pair of kakémonos, on silk, painted in mono-
chrome. Size, 442 x 22.
Dragon and Tiger.
The head of the dragon is seen peering from an eddying storm-
cloud. The eyes and flaming appendages are heightened by a wash
of gold.
The tiger is conventional in treatment.
Painted by Ina-aaxi. Signed To-sar Seal. Nineteenth
century.
650. Kakémono, on silk, painted in colours. Size, 183 x 93.
Chinese landscape.
Painted by Kan-surt. Signed. Seal. Seal indicating
point of commencement at right upper corner. Nineteenth
century.
651. Kakémono, on silk, painted in colours. Size, 213 x 33.
Chinese landscape. Spring view.
Painted by Karsu-p0 at the age of seventy-one. Signed.
Seal. Eighteenth century.
PEAdR Ot

(Page
Kitawo
After
208.)
Masayoshi.
sHoJos.

Kitawo
After
Masayoshi.

(Page
217.)
SHOKI,
 peat
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«

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es

他 hey Ai we 0 pe eh Ana
 CHINESE SCHOOL. 209

652. Kakémono, on silk, painted in colours. Size, 18% x 22}.

The meeting of the Seven gods of Good Fortune. (See
p- 27.)
Hotei, Ebisu, Daikoku, and Jurdjin appear in the foreground,
while Fukurokujiu upon a stork, Bishamon upon a cloud, and
Benten upon a white dragon are seen making their way through
the air towards their associates.
Painted by Katsv-p6 at the age of seventy-four. Signed.
Seal. Eighteenth century.
653. Kakémono, on silk, painted in colours. Size, 387 x 15.
Bird and peony.
Painted by Kaxu-rex. Signed. Seal indicating point of
commencement at right lower corner. Poetical inscription.
Nineteenth century.

654 and 655. A pair of kakémonos, on silk, painted in colours.

Size, 883 x 13.
Birds and flowers.
Painted by OKA-DA Kan-rin. Signed 及 AN-RIN。 Two seals.
Nineteenth century.

656. Kakémono, on silk, painted in colours. Size, 453 x 153.

Cranes and pine-trees.
Painted by Oxa-pa Kan-rtn. Signed Kan-nin 了 O-REN.
Seal. Nineteenth century.

657. Kakémono, on silk, painted in colours. Size, 423 x 14%.

Ducks. Snow scene.
Painted by Kaxu-szn. Signed. Seal. Nineteenth century.

658. Kakémono, on silk, painted in colours. Size, 47} x 16}.

Female Rishi on Phenix. (Rodatoxv ?)
Coloured in the style of the Ming dynasty.
Painted by Kaxu-po. Signed. Seal. Nineteenth century.

659. Kakémono, on silk, painted in monochrome. Size, 51 x 228.

Hawk. Winter scene.
Painted by Kar-an. Signed. Seal. Nineteenth century.
P
210 JAPANESE PICTORIAL ART.

660. Kakémono, on silk, painted in colours. Size, 402 x 133.

Hawk and plum-tree.
Rapid sketch in ink, lightly coloured.
Painted by KKAKU-RO-JIN Bun-kwa. Signed. Seal. Nine-
teenth century.
661 and 66la. A pair of kakémonos, on silk, painted in colours.
Size, 505 x 192.
Pheasants.
Rapidly sketched and lightly tinted with colour.
Painted by O-NISHI 了
KEI-SAI， Signed Keur-sar. Seal.
Dated in the third year of Tempo (1832).

662. Kakémono, on silk, painted in colours. Size, 395 x 138f.

Cranes.
Painted by O-NISHI Kur-sar. Signed Kut-sar. Seal. Nine-
teenth century.

663. Kakémono, on silk, painted in monochrome. Size, 493 x 213.

Egrets. Rain scene.
Painted by O-nisut Kut-sar. Signed Kur-sar. Seal. Nine-
teenth century.

664 to 666. A set of three kakémonos, on silk, painted in mono -

chrome. Size, 40 x 14}.
(1.) Bhadra.
A semi-nude figure of an aged man seated upon a rock, holding
the futsu-jin or priestly brush. The head is surrounded by a nimbus.
By his side stands a disciple, and a tiger lies crouched at his feet.
(2.) Panthaka.
An old man with enormously elongated eyebrows, grasping in
one hand the ringed staff, in the other a sphere of crystal. A boy
attendant bearing two manuscript rolls, and a demoniacal figure
holding up a begging-bowl, stand near by, and a dragon coiled
upon the ground is rearing its head towards the sacred jewel.
See Introduction to Buddhist School.
(3.) Cataract.
The picture, which is the centre-piece of the set, is at the first
glance startling in its apparent nothingness. It shows neither the
summit nor the bottom of the fall, and the greater part of the
surface is covered by lines indicating the vertical downpour of the
 CHINESE SCHOOL. 211
waters, but on one side is seen a craggy prominence against which
the edge of the column dashes to form a miniature cataract and
then disappears with it into the spray mist below.
Painted by O-NISHI Ker-sat. Nos. 1 and 2 bear the seal
of the artist. No. 3 is signed Kut-sar. Nineteenth century.

667. Kakémono, on silk, painted in colours. Size, 213 x 34.

Drawings and calligraphy by various artists.*
Chinese Sage. Moonlight scene.
Painted by Fuat-no (?)
Chinese landscape, with flight of cranes.
Painted by NAN-KWA SO-ITSU.
Bamboos.
, Painted by Kwan-sal.
Peony.
Painted by Kwan-sar. Signed. Seals. Nineteenth
century.
* The production of a kakémono or album, by the joint contribution
of the various members of a little coterie of artists and calligraphists,
is very common. Several examples are included in the collection.

668. Kakémono, on silk, painted in colours, Size, 453 x 173.

Yang Kwei-fei (Jap. YOKIHT)，
The princess is playing upon a stringed instrument somewhat
resembling the koto. As usual the drawing of the face is insipid
and incorrect, notwithstanding the evident desire of the artist
to represent the highest type of female beauty.
The colouring is rich and harmonious, in the style of the Ming
dynasty.
The blossoming plum-tree introduced into the picture indicates
the season as early spring.
Painted by Ket-zan. Signed Kur-zan Cuin-sin. Two
seals. Poetical inscription in upper part of picture. Nine-
teenth century.
The Emperor Ming Hwang, of the T’ang dynasty (r. 713-762 A.D.)
reigned for twenty years with the wisdom of Solomon, but on reaching
mid-age he imitated Solomon in his decline and gave himself up to sensual
indulgences. At this time the reports of the extraordinary beauty of a
neighbouring princess named Yang Kwei Fei reached his ears and led him
to abduct her by force. In her arms he forgot the welfare of his kingdom,
ep 2
212 JAPANESE PICTORIAL ART.

he oppressed his people, disgraced his old and faithful retainers, and heaped
honours upon his new mistress and upon her unworthy relatives. At length
his weakness and the greed and brutality of his favourites bred rebellion,
and the men who rallied round the falling throne compelled the besotted
monarch to decree the execution of those who had been the prime cause of
his misfortunes. The Princess Yang Kwei Fei was beheaded, after her
brother had sufferedea like punishment, and Ming Hwang, restored to his
kingdom, wasted his remaining years in weeping her loss.

669. Kakémono, on silk, painted in colours. Size, 45 x 17.

Mountain scenery, with Hii Yeo (Jap. 人 IOYU) and Ch’ao
Fu (Jap. Sorv).
Hii Yeo, seated by the side of a cascade, washes his ear, while
Ch’ao Fu leads his ox away from the stream into which the water is
falling.
Painted by Kur-rid. Signed Kaet-rit Gwar-sur. Seal.
Nineteenth century.
Hii Yeo, the counsellor of the legendary Emperor Yao (2357 B.c.), was a
Chinese Diogenes, who carried to its highest pitch the philosophy of con-
tempt for worldly ambition and sensual gratification. Like the Grecian
cynic, he endeavoured to rid himself of all superfluities; and it is related,
that when a gourd, which he was accustomed to use as a drinking vessel,
chanced one day, while hanging from the branch of a tree, to make sweet
music with the breeze, its owner resented its appeal to his esthetic instincts,
and, casting it away, would thenceforth avail himself of no other cup than
the hollow of his palm.
Ch’ao Fu, the “Nest father,” his chosen associate, was a hermit of
congenial views and practices.
The Emperor having heard of the profound wisdom of Hii Yeo, sent to
beg him to accept the direction of the government of the mpire. The
sage, after listening to the invitation, washed his ear in a little cascade to
remove the taint it had contracted by the admission of sounds provocative
of worldly ambition, and his friend Ch’ao Fu, who was at the moment
bringing his ox to drink below the spot, led the animal away on hearing
the cause of the ablution, and would not permit its thirst to be quenched
at the morally-infected stream.

670. Kakémono, on silk, painted in colours. Size, 353 x 12.

Lin Hwo-ching (Jap. RINNASEI).
A Chinese sage accompanied by two white cranes.
_ Painted by Kiy-1d. Signed KIN-TO Ama-no Surv. Seal.
Dated in the period Genji (1864-5).
Lin Hwo-ching (Jap. Rinnasei, or Rin-kwa-sei) was a famous poet of
the eleventh century, who never committed his poems to writing, alleging
as a reason that he cared not to be’ known to posterity. He died during
 CHINESE SCHOOL. 213

the reign of Jén Tsung, the fourth Emperor of the Sung dynasty
(1023-1064 a.p.).
He is always represented in association with a crane.
See E-hon Rid-zai, vol. ix.

671 and 672. A pair of kakémonos, on silk, painted in colours.

Size, 55} x 303.
Peonies and insects.
This picture illustrates one of the defects of Sinico-Japanese art,
the want of chiaroscuro. The bright coleurs of the flowers and
leaves, applied in large masses and unrelieved by shadow, produce a
crudeness of effect that the skill displayed in the drawing and
grouping is insufficient to correct.
Painted by Ké-sutn. Signed. Seal. Highteenth century.

673. Kakémono, on silk, painted in colours., Size, 11 x 11.

Japanese monkey and young.
Painted by Kwa-zan. Signed. Seal. Nineteenth century.
The native monkey drawn by the Shijé artists and occasionally by the
pupils of the older schools, is the Jnwus or Macacus speciosus, the only
representative of the tribe in Japan. According to Dr. Rein, it is common
in Shikoku, Aki, Kitshii and Higo, and extends northward as far as the
41st parallel of latitude. It is depicted in Siebold’s ‘ Fauna Japonica.’
The long-armed monkey seen in the works of the older painters is
copied from Chinese pictures, and is unknown in Japan.
The monkey is said to be the messenger of the Shinto Divinity,
O-kuni-nushi, who is worshipped as San no Gongen at the temple of
Hiydshi, and is also regarded as a servant of the Divinity of Hiyé; whence
its image is placed on each side of the gate of the Shinto Temple of Hiyé
in Tokio. In Nos. 2281 and 2114 the wand, decorated with strips of
paper (gohed), and placed in the hand of the animal, probably marks its
religious status.
A common motive in. glyptic art is a simian trinity called “ Mizaru,
Iwazaru, and Kikazaru” (sight, speech, and hearing monkeys). One of
the animals is represented with his hands pressed over his eyes, another
closing his mouth in a similar manner, and the third shutting his ears;
“indicating that they will neither see, say, nor hear anything that is
evil.” A stone carving of the group is seen near Tokio where the
Tokaido crosses the Yokota river. (See ‘Handbook for Japan.’)

674. Kakémono, on silk, painted in colours. Size, 35 x 134.

Birds and flowers. Hawk pursuing sparrows.

The head of the hawk is foreshortened in such a manner as to

give it the aspect of the face of an owl.
Painted by Ko-czrsu. Signed Hoxxtd Ko-cursu. ‘T'wo
seals. Eighteenth century.
214 JAPANESE PICTORIAL ART.

675 . Kakémono, on silk, painted in colours. Size, 421 x 16}.

The perils of earthly life.
A man closely pursued by a tiger has suspended himself over the
edge of a precipice by a branch of wistaria. The wild beast
rages above him, and below, in a seething mass of water, yawns a
pitchy gulf encircled by the coils of a ferocious-looking dragon,
while the slender support that gives him temporary safety is slowly
yielding under the teeth of a rat that gnaws at its root. The artist
has done his best to depict the victim’s agony of apprehension in
the supreme moment when he instinctively draws up his feet away
from the monster into whose jaws he must in a few moments be
precipitated by the rupture of the few half-rent fibres that form
his only link to earth.
Painted by Ko-xer, Signed. Seal. Nineteenth century.
The subject, which is repeated with some variations in No. 1007, is
drawn from a Japanese version of the Life of S’akyamuni, and is intended
to illustrate the perils that beset man during his wretched existence in
this world. The passage occurs in the course of a speech made by the
Déva Suddhavasa when he visits the young S’akyamuni after the Three
Visions, and is thus translated by Mr. Satow :一
“‘ Man is like a wretch who has fallen into a well and strives in anguish
to support himself by a tuft of grass which juts out from the side. Below
him lies coiled a huge serpent with gaping jaws, a ferocious tiger watches
above with open mouth impatient to devour him if he ascends, and an
army of rats gnaw the roots of the grass. In such a position neither wife
nor child, treasures nor exalted rank, can help him, and if the keen-
edged blast of impermanency strikes upon him he is deprived of all in a
moment.”

676. Kakémono, on silk, painted in colours. Size, 834 x 12}.

The seven Daikokus.
Seven figures of Daikoku, painted to resemble each other as closely
as impressions struck from the same block.
Painted by Ko-aa. Signed. Seal. Nineteenth century.

677 . Kakémono, on silk, painted in colours. Size, 143 x 183.

The Fox Wedding (“ 上 ITSUNZ Yomuint”).
A long procession of foxes attired in burlesque imitation of a
bridal party. The forepart of the file, winding along the narrow
paths between the rice fields, is already lost in the hazy mist of
the sun-lit rain-drops and vapours of the summer shower. The
style is somewhat like that of the Shij5 school.
Painted by Ko-zan. Seal. Nineteenth century.
A version of the Japanese story of the Fox Wedding is given in Mitford’s
‘Tales of Old Japan.’ After a sketch of the parentage of the vulpine bride-
 CHINESE SCHOOL. 215

groom aud of the ceremonials preliminary to the engagement, the tale

goes on to say that “an auspicious day was chosen for the bride to go to
her husband’s house, and she was catried off in solemn procession during a
shower of rain, the sun shining all the while.” The domestic romance
then concludes in the usual manner with the loving devotion of the couple
and the rearing of periodical litters of dutiful cubs.

678. Kakémono, on silk, painted in colours. Size, 294 x 103.

Kwan Yi as God of War (?).
A burly figure, clothed in the attire of a personage of high rank,
is standing upon a cloud attended by a boy who holds a sword of
the ancient Chinese form.
Painted by K6-zan at the age of seventy. Inscription.
Signed. Seal. Dated in the 5th year of Ansei (1858).

679. Kakémono, on silk, painted in colours. Size, 22? x 153.

Two fan-shaped pictures.
(1.) The Seven Poets.
Painted in the style of the Yamato school.
(2.) View of Mount Fuji. -
The picture shows only the white truncated cone of the peerless
mountain, and in the foreground a threadlike stream with a group
of rushes. :

Painted by Ko-zan. Signed. Seal. Nineteenth century.

680. Kakémono, on silk, painted in colours. Size, 384 x 102.

Flower and sickle.
Painted by K6-zan. Signed. Seal. Nineteenth century.
The sentiment of the picture, repeated as it is in a thousand ways by
the Japanese poet and artist, needs no explanation.

681. Kakémono, on silk, painted in colours. Size, 393 x 112.

Sparrows and bamboos.
The bamboos in silhouette, the sparrows in colour.
Painted by Ko-zan at the age of eighty-two. Signed
H6-aEn Ko-zan. Seal. 1870.

682. Kakémono, on silk, painted in colours. Size, 37? x 103.

Sparrows and flower.
Painted by Ko-zan, Signed. Seal. Nineteenth century.
216 JAPANESE PICTORIAL ART.

683. Kakémono, on silk, painted in colours. Size, 504 x 223.

An Imperial summer palace in China.
The painting embodies forcibly the Oriental conception of an
earthly Paradise. The majestic proportions of the palace, the
spacious apartments with their gaily-coloured panels, the massive,
richly ornamented gable roofs, the stately entrance porches, the broad
tesselated verandahs, the trellis-bordered garden terraces, the cool
pavilion jutting out over the placid waters, and the great lake that
stretches far away in an expanse broken only by verdant islets,
combine to form a tout ensemble that has no counterpart in European
magnificence.

Painted by YASU-DzU-MI Né-sa of Echigo. Nineteenth

century (present reign).

684. Kakémono, on silk, painted in colours. Size, 40 x 12.

Magpie and flowers.
Painted by Kiy-zani. Signed Hoazn 了 IN-zANE， Seal.
Temp. nineteenth century.

685. Kakémono, on silk, painted in colours. Size, 872 x 102.

Peony.
Painted by K10-xo. Signed. Seal. Nineteenth century.

686. Kakémono, on silk, painted in colours. Size, 472 x 21}.

Kwan Yii on horseback. (See No. 218.)
Painted by a Kano artist in the style of the Ming period. Rich,
rather elaborate colouring, with a kind of false chiaroscuro to
accentuate the features, the folds of the dress, and the contours of
the horse.
Painted by Kut-zan Mort-yosui (Kano School). Signed.
Two seals. Nineteenth century.

687. Kakémono, on silk, painted in colours. Size, 367 x 168.

The Emperor Ming Hwang (YUPN Tsuna, Jap. Gunso)
and the two Demon-quellers.

The Emperor, with an attendant, is gazing at the spectacle of

Chung Kwei (Jap. Shéki) dashing one evil spirit to the ground and
forcing his finger and thumb into the eye-sockets of another; while
at a lower stage of the picture are seen a number of unfortunate
demons receiving their punishment at the hands of a second Chung
Kwei, who differs from the first only in the colour of his garments.
 CHINESE SCHOOL. 217

Painted by Masa-mocui. Two seals. Nineteenth century.

Chung Kwei, the Demon-queller, a favourite myth of the Chinese,
was supposed to be a ghostly protector of the Emperor Ming Hwang
(713-762 a.p.) from the evil spirits that haunted his palace. His story
is thus told in the E-hon koji-dan: “The Emperor Glens5 was once
attacked by ague, and in his sickness dreamed that he saw a small demon
in the act of stealing the flute of his mistress Yokihi (Yang Kwei-fei). At
the same moment a stalwart spirit appeared and seized the demon and
ate him, ‘The Emperor asked the name of the being, who replied, ‘I am
Shiushi Shoki of the Shunan mountain. In the reign of the Emperor
K6sd (Kao-tsu) of the period Butoku (Wu-Téh, 618-627 a.p.) I failed to
attain the position to which I aspired in the State examination, and, being
ashamed, I slew myself; but at my burial I was honoured, by Imperial
command, with posthumous rank, and now I desire to requite the favour
conferred upon me. To this end I will expel all the devils under heaven.’
Gensd awoke and found that his sickness had disappeared. He then
ordered Go Doshi (Wu Tao-tsz’) to paint the portrait of the Demon-
queller, and distributed copies of it over the whole kingdom.”
Chung Kwei is usually drawn as a burly, truculent giant clad in official
garb and armed with a two-edged sword. He is sometimes shown riding
upon a lion, but more commonly is. engaged in punishing or compelling
menial service from a band of pigmy demons, who adopt the most comical
subterfuges to escape the keen eye of their persecutor. The subject forms
one of the most frequent inspirations of the Japanese artist, and appears in
numberless specimens of porcelain, ivory carving, and other works. The
netsuké carver usually treats the theme from a comic aspect, and delights in
the invention of ingenious devices by which the little spirit of evil is.made
to outwit his huge enemy.

688. Kakémono, on silk, painted in colours. Size, 433 x 143.

Birds and peonies.
Painted by Masa-yuxr. Signed HOKI no Kami Masa-
yuki. Two seals. 了 arly part of nineteenth century.

689. Kakémono, on silk, painted in colours. Size, 172 X 221.

Ch’ao Yiin (Jap. CHO-UN) saving the child of Liu-pei
(Jap. RruBI or GENTOKU).
A kneeling warrior clasping an infant in his arms.
Painted by Fu-xyo Moxvu-yo. Signed. Seal. Dated in
the monkey year of Bunkwa (1814).
Ch’ao Yiin was a famous retainer of Liu-pei and one of the heroes of the
Wars of the Three Kingdoms, When Liu-pei was defeated by 'T's’ao Ts’ao,
in 195 a.p., Ch’ao Yiin took charge of his two wives and his infant son, and
succeeded in rescuing the latter by tying him to his armour and fighting
a way through the enemy. In the course of his escape while he was
pursued by one of the rival leaders, a great hole in the ground suddenly
yawned before him, but urging his horse to a mighty leap, he cleared the
 218 JAPANESE PICTORIAL ART.

chasm. At length, after slaying more than fifty generals of the adverse
forces, he delivered the child in safety to its father (H-hon Rid-zai), Liu-
pei was wont to express his admiration of his adherent’s courage by ex-
claiming, “ His body is one mass of gall” (courage). He died 228 a.p.
(Mayers). See also No. 13876.
690. Kakémono, on silk, painted in colours. Size, 51 x 213.
Emblems of longevity. ‘ Kar-KAKU-BAN-TO.”
A white crane swimming on the sea near a rock upon which is
rooted an ancient peach-tree. In the background appears the huge
vermilion disc of the setting sun.
Painted by Ga-xo Muxv-aa. Signed. Seal. Nine-
teenth century.
This subject is a very common one in Japanese art and is of great
antiquity. The original is said to have been painted by a Chinese artist to
. embody a dream of the Emperor Ming Hwang of the T’ang dynasty.
691. Kakémono, on silk, painted in colours. Size, 34 X 154.
Tigers.
Hair elaborately painted, but drawing conventional.
Painted by Momo-xawa. Signed. Seal. Eighteenth
century.
692. Kakémono, on silk, painted in colours. Size, 413 x 14%.
Birds and flowers.
Painted by Mv-ri0. Signed. Two seals. Nineteenth
century.
693. Kakémono, on silk, painted in colours. Size, 12} x 103.
Chinese landscape. Night scene.
Mountain scenery: upon the summit of an eminence surmounting
the clouds, is seen a large mansion approached by a wooden passage
that scales the ascent and bridges over the clefts in the rocks.
The full moon presides over the scene, but does not cast any
shadows or affect the character of the light in the picture.
Painted in the style of the Ming period by Hanrv-x1
Nan-xo. Signed Nan-xo. Seal. LHarly part.of nineteenth
century.
694. Kakémono, on silk, painted in colours. Size, 213 x 34.
Peacocks, with pine and roses.
The birds are treated in a decorative manner. One stands facing
the spectator and expands its tail in a manner that displays the
whole of its glories.
Painted by Harvu-x1 NAM-MEI， Signed NAM-MEI， Seal.
Nineteenth century.
 CHINESE SCHOOL. 219

695 and 696. A pair of kakémonos, on silk, painted in colours.

Size, 554 x 203.
Chinese landscape. Moonlight.
The two kakémonos, when placed side by side, are seen to form
corresponding halves of a single picture. They represent a lake fed
by mountain streams, washing the feet of the precipitous rocks that
encircle it or jut out from its bed as islets or peninsulas. The
trees are shedding their autumn leaves, the full moon above is
reflected on the waters, and two pleasure-boats, occupied by Chinese
sages, are drifting over the rippled surface.
The picture is well conceived, but loses immeasurably by the
imperfection of the laws that have guided its execution. The still
lake mirrors nothing but a circular effigy of the moon; the rocks,
with which the geologist might be inclined to quarrel, display
some capriciously disposed shading, but no shadows; and although
the presence of the moon announces a night scene, the light is
that of day.
Painted by Harvu-xr NAM-MEI at the age of seventy.
Signed. Two seals. Nineteenth century.

697 and 698. A pair of kakémonos, on silk, painted in colours.

Size, 492 x 21.
l. Jigoku Reigan.
A courtesan clad in a silken robe the ample folds of which are
covered with a design representing the Tortures of Hell. Her hair
is ornamented with large pins.

2. IkkitP
An old priest seated in a Buddhist chair.
Painted by Nam-mer. Signed. Seal. Nineteenth century.
Jigoku (Hell) Reigan was a celebrated hetaira of the fifteenth century,
who is said to have received a literary education from the famous priest,
painter, and poet, Ixx10. She is here shown in the ceremonial or proces-
sional attire which gave rise to the grim prefix to her name.

699. Kakémono, on silk, painted in colours. Size, 38 x 133.

Hawk.
The bird is resting upon the trunk of a pine-tree,of which a
branch projects in front of the vermilion sun.
The drawing is an admirable example of the quicker style of the
artist. The sun is probably introduced as a decorative symbol.

Painted by NAM-MEI， Signed. Seal. Nineteenth century.

-
220 JAPANESE PICTORIAL ART.

700. Kakémono, on silk, painted in colours. Size, 64} x 33,

Crane, sun, rock, and peach-tree.
A slightly different treatment of the subject of No. 690.
Painted by Hanrvu-xr Nam-mer Signed. Seal. Nine-
teenth century.

701. Kakémono, on silk, painted in colours. Size, 393 x 124.

Birds and flowers. Moonlight scene.
Painted by NAN-BO after Gursu-pi-rer. Signed Nan-ro.
Seal, Nineteenth century.

702. Kakémono, on silk, painted in colours. Size, 82 x 313.

K’i-lin (Jap. Krein).
A deer-like animal with one horn. The head is somewhat like
that of a dragon; the greater part of the body is blue, diversified
with whorls of golden hair, and the throat and abdomen are red and
hairless; the hoofs are like those of a deer; the mane and tail
resemble those of the conventional lion; and the shoulders are
adorned with the flame-like attributes of supernatural animals.
Painted by NAN-KEI， Three seals.
The K’i-lin, one of the four Supernatural Creatures, is a composite
animal having the body of a deer, the tail of an ox, and a single horn. In
drawings, the tail is usually curled and bushy, like that of the “ Chinese
Lion,” the hair is of azure tint, and the shoulders bear flame-like append-
ages significant of the divine nature of the being.
It is described as the noblest form of the animal creation and an emblem
of perfect good. Its appearance, like that of the Phenix (Féng Hwang)
and Red Hare, is generally a happy omen. As a Buddhistic animal it is
said to tread so lightly as to leave no footprints, and so cautiously as to
crush no living creature.
The appellation K’i-Lin is compounded of K’i, the male, and Lin, the
female animal.

703. Kakémono, on silk, painted in colours. Size, 37 x 15}.

Gama Sennin.
A wild-looking being in Chinese dress, holding in his hand a
peach and a flowering branch of the tree A large three-legged
white toad sits upon his shoulder.
Painted by NAN-GEN, at the age of seventy-eight, after a
picture by Exi-xer. Signed. Two seals. Dated in the
4th year of Bunkwa (1807).
Gama Sennin is the Japanese appellation of a Taoist Rishi, of whom
little can be discovered beyond a statement that he lived in the mountains
and had as a companion, a frog or toad (whence the name “Gama”). In
 CHINESE SCHOOL. 221

the Ressen zen den he is identified with a mysterious drug-seller with

a somewhat batrachian countenance, who was once seen to assume the form
of a frog while bathing.
He is generally represented as a poorly-clad man with flat, commonplace
features. His companion sometimes assumes the form of a frog, some~-
times that of a toad, and is generally distinguished from the rest of its
kind by a white skin and the substitution of the two hind legs by a single
limb. It is occasionally depicted exhaling a vapour in which appears a
mirage of a walled city.

704. Kakémono, on silk, painted in colours. Size, 435 x 13.

Ducks and chrysanthemums.
Painted by Nan-zan. Signed. Seal. Nineteenth century.
705. Kakémono, on silk, painted in colours. Size, 87% x 133.
Two pictures.
(1.) Si Wang Mu (Jap. Ser-0-8d) and the Emperor Wu Ti
(Jap. BU-TET).
The goddess is gazing lovingly upon the Emperor, who holds a
branch of the peach-tree of immortality.
Painted by NAN-KWA 8SHO-SHI Signed. Seal.
(2.) Chrysanthemums, &c.
Painted by Surrer Sé-1rsu. Signed. Seal. Nineteenth
‘century.
Si Wang Mu, the Royal Mother of the West or Queen of the Genii,
is a legendary being, whose dwelling was a mountain palace in Central
Asia, where she held court with her fairy legions and received the great
Taoist Rishis and certain favoured mortals. Her amours with the Han
Emperor Wu Ti (died 87 3.c.) have given much occupation for both
author and artist.
In paintings she is usually depicted as a beautiful female in the attire
of a Chinese princess, attended by two young girls, one of whom holds a
large fan, the other a basket of the peaches of longevity. The assemblage
of the Rishis at Kw’én Lun, her mountain home, is one of the common
art-motives of the older Chinese and Japanese artists.

706. Kakémono, on silk, painted in colours. Size, 513 x 163.

Cranes, &c.
Artist unknown. Two seals. Seal indicating point of
commencement, at right lower corner. Nineteenth century.

707. Kakémono, on silk, painted in colours. Size, 55 x 293,

Birds and flowers.
Painted by O-K5. Signed Rryo-un SAN-JIN 0-x5. Two
seals. Nineteenth century.
222 JAPANESE PICTORIAL ART.

708. Kakémono, on silk, painted in colours. Size, 8372 x 134.

“ Kai-kaku-ban-to.” (See No. 690.)
Painted by Rut-suit. Signed. Seal. Nineteenth century.

709. Kakémono, on silk, painted in colours. Size, 22% x 328.

Chinese girls playing upon various instruments of
music.
Coloured in the style of the Ming period.
Painted by Rzn-zan. Signed Ren-zan Jo-SHI (female
artist). Dated in the cyclical year Tsuchi no yé Inu (1838.)

710. Kakémono, on silk, painted in colours. Size, 37 x 133.

Quails and lespedezas.
Style somewhat like that of Shij5 school.
Painted by Rin-suin. Signed. Seal. Nineteenth century.

711. Kakémono, on silk, painted in colours. Size, 42} x 14}.

Golden-crested pheasant and mate.
Painted by RIN-SAI， Signed. Two seals. Nineteenth
century.

712. .Kakémono, on silk, painted in colours. Size, 144 x 163.

Leopard.
Very conventional in drawing.
“Painted from life” by Ri-ser. Signed. Seal. Nine-
teenth century.

713. Hiouen Thsang (Jap. Sanzo Hosur). Size, 441 x 163.

The Buddhist pilgrim in priestly robes, his brow stamped with
the Urna of the Bédhisattva, is mounted upon a white horse
and travels through the clouds with his fabulous escort, a monkey,
a boar, and a demon.

Painted by Kid-suit Kon. Signed. Two seals. Nine-

teenth century.
Hiouen Thsang, or Yiian Chwan, the famous Chinese priest who spent
seventeen years in India in the seventh century collecting Buddhist relics
and scriptures. The record of his travels, as translated by M. Stanislas
Julien (1853), is well known, and gives many particulars of great interest
to students of the religion; but the narration is so interwoven with Bud-
dhistic “romance” that it is often difficult to separate truth from fiction.
 CHINESE SCHOOL. 223

714. Kakémono, on silk, painted in colours. Size, 453 x 194.

Chinese landscape.
Painted by Rirzvu-zan. Signed. Two seals. Poetical
inscription. Nineteenth century.

715. Kakémono, on silk, painted in colours. Size, 43 x 1732.

Flock of wild geese.
Painted by Riv-ad-xa. Signed. Two seals. Dated in the
cyclical year Hinoto I. (1827 ?).

716. Kakémono, on silk, painted in colours. Size, 882 x 13%.

Fowls and plum-tree.
Painted by Rrv-xoxu-pen Suick-axi, Signed. Two
seals. Early part of nineteenth century.

717. Kakémono, on silk, painted in colours. Size, 444 x 172.

The Merry Genii (Waco-smy).
Two laughing figures in Chinese dress, and having the long
straight hair commonly attributed to supernatural beings. One
bears a lotus; his companiomholds a Buddhistic sceptre and a salver
filled with corals, precious stones, &c., and tramples beneath his
feet other objects symbolical of good fortune.
Painted by San-Ker. Signed. Seal. Inscription in seal
characters signed by Heirin. Highteenth century,

718. Kakémono, on silk, painted in colours. Size, 393 x 13].

Chinese landscape.
A sage’s summer retreat overhanging a mountain torrent. Some
boys are carrying books up the path leading to the building.
Painted by Sar-Kert. Signed SAI-KEI San-stn. Seal. Dated
in the period of Bunsei (1818-1830).

719. Kakémono, on silk, painted in colours. Size, 423 x 15.

The Hundred Cranes.
A number of cranes have alighted upon the branches of two
ancient pines growing upon the shore of Horai. (P’éng Lai Shan.)
A troop of their companions are seen winging their way through the
sky across the lurid face of the sun, while Sacred Tortoises emerge
in crowds from the sea to join the group awaiting them upon the
Holy Mount.
Painted by Sa-raxi YEI-KAI， Signed. Seal. Nine-
teenth century.
224 JAPANESE PICTORIAL ART.

Mount Haorai is the P’éng Lai Shan of the Chinese, one of the Three
Isles of the Genii, which were believed to lie in the Eastern sea opposite
to the coast of China. The happy group was the paradise of the Genii,
who there maintained a sempiternal vigour by quaffing the waters of the
Fountain of Life which flowed for them in a perpetual stream. The pine,
the plum, the peach-tree, and the sacred fungus (ling-che) grow for ever
upon its shores; the hairy-tailed tortoise swims in the waters that wash
its rocky shores; and the ancient crane builds its nest upon the giant
limbs of its never-dying pine.
The Emperor She Hwang-ti is said to have despatched a body of young
men and maidens, in the third century B.c., to seek this home of Eternal
Life, and it has been suggested, very Atel a that the members of this
expedition were the ancestors of the present Japanese.
A miniature of Mount Horai with its accessories forms a part of the
paraphernalia of the wedding ceremonial in Japan.

720 and 721. A pair of kakémonos, on silk, painted in colours.

Size, 88 x 14.
Carp.
In the one picture the fish is leaping from the wave, in the
other it skims the surface of the water.

Painted by Jé-ven Sapa-rora. Signed Sapa-tora. Seal.

Eighteenth century.
The carp (Cyprinus Carpio) in Japan serves as an emblem of vigour
and perseverance. It is frequently drawn in the act of leaping the cataract,
success in the ascent being fabled to win its promotion to dragonhood.
This belief is evidently derived from the Chinese legend, that the sturgeon
of the Yellow River makes an ascent of the stream in the third moon of
each year, and if successful in passing above the rapids of the Lung Mén
becomes transformed into a dragon.

722. Kakémono, on silk, painted in colours. Size, 62% x 243.

Pien Ts’iao (Jap. 了 PNJAFKU) and Ch’ang Sang Kung
(CH080 Kun or Unto SENSEI).
Pien T's’iao, in the dress of a Chinese scholar, is reading a manu-
script roll, and listening respectfully to the explanations of a wild-
looking being clothed in leopard-skins.
Painted by Son-sat. Signed. Seal. Nineteenth century.
Pien Ts”iao was a famous Chinese physician of the sixth century B.c.
who is said to have dissected the human body, and to be the “ discoverer”’
of the fanciful channels of the vital spirits, as well as the inventor of the
complex pseudo-physiology and pathology which even in the present day
can number more believers than all the science of the West. His super-
natural powers in the art of healing are attributed to the instruction of the
rishi Ch'ang Sang Kung.
 CHINESE SCHOOL. — 225

723. Kakémono, on silk, painted in colours. Size, 8322 x 20.

Carp.
Painted by Sasa-yama. Signed Yo-1 Fust-wara I-pEn.
Two seals. Highteenth century.
724. Kakémono, on silk, painted in colours. Size, 80 x 12.
Cherry blossoms. Ornamental bordering.
The cherry-branch and flowers which form the subject of the
picture are painted in silhouette. The bordering is painted with
a flower design in colours upon the same piece of silk.
Painted by O-sd San-sersv. Signed. Seal. Dated in
the second year of Ansei (1855),
725. Kakémono, on silk, painted in colours. Size, 37} x 16}.
Autumn leaves and fiowers.
Painted by SEN- SHIO. _ Bigned. Two seals. Nineteenth
century.

726 and 727. A pair of kakémonos, on silk,eas in colours,

Size, 874 x 13}.
Insects and climbing plants.
Great delicacy of execution.
Painted by Sar-zan. Signed. Seal. Nineteenth century.
727a. Kakémono, on silk, painted in colours. Size, 35} x 113.
Fowls.
Painted by Szr-min. Signed. Seal. Nineteenth century.
728. Kakémono, on silk, painted in colours. Size, 48} x 21%.
Peacock, pine, and peony.
Style of painting resembles that of Shij5 school.
Painted by Suppo. Signed. Two seals. Nineteenth
century.
729. Kakémono, on silk, painted in colours. Size, 386 x 135.
Pea-hen and peony.
Painted by Szprd. Signed. Seal. Nineteenth century.
730. Kakémono, on silk, painted in colours. Size, 513 x 21.
Taiko Hidéyoshi and Daté Masamuné looking down
upon the castle of Odawara.
The portrait of the formidable Taiké is said to be historically
correct.
Q
226 JAPANESE PICTORIAL ART.

Painted by Szrran (Sersu-an) “after an ancient picture.”

Signed. Seal. Nineteenth century.
The siege of Odawara, which took place in 1590, resulted in the over-
throw of the later Hojo clan. The attack was conducted by Iyéyasu, and
at this time, Hidéyoshi is said to have suggested to the future Shogun that
Yedo would be the best site for the capital of the Kwanto (see Griffis’
‘Mikado’s Empire’).
Hidéyoshi is better known to foreigners by his title as an ex-regent,
Taik5 Sama or Taico.

731 and 732. A pair of kakémonos, on silk, painted in colours.

Size, 411 x 16.
Peacock and hen, with flowers.
Painted by Serran. Signed. Seal. Nineteenth century.

733. Kakémono, on silk, painted in colours. Size, 51% x 213.

Chinese landscape.
A good example of the composition of the Chinese landscape. In_
the foreground lies a deep, peaceful valley, intersected by a winding
stream that is fed by a neighbouring cascade; upon a hilly slope
within sound of the roar of the waterfall, appears a pavilion of the
ancient Chinese form; lofty hills clad with vegetation rise in the
mid-distance ; and the scene is closed in behind by bluish angular
silicic peaks. The effect is highly picturesque, and presents little
resemblance to the more modern pictures of the willow-pattern
type, which in Europe are considered to represent the true spirit
of Chinese art.
Painted by Serran “in imitation of the pencil of the
Sung artists.” Signed. Two seals. Dated in the cyclical
year of Kinoto I. (1815).

734. Kakémono, on silk, painted in colours. Size, 43 x 173.

Birds and flowers.
Painted by TE-KI Sancen “in the style of the pencil of
Jo-so-sui.” Signed. Two seals. Nineteenth century.

735. Kakémono, on silk, painted in colours. Size, 503 x 132.

Birds and flowers.
Artist unknown. Seal (Shimbo?) Inscription. Nine-
teenth century.

736. Kakémono, on silk, painted in colours. Size, 501 x 213.

Hawk.
Freely outlined in ink, and lightly washed with colour.
 CHINESE SCHOOL. 227

Painted by YAMA-GUOHI Suxxer. Two seals. Eighteenth

century.
737. Kakémono, on silk, painted in colours. Size, 40} x 123.
Bishamon (VAs RAMANA). See page 39.
Painted in black and gold.
Painted by Serrrsv. . Signed TAN-SEI G1d-sa Sut-rrsv.
Seal. Nineteenth century. ’
738 and 739. A pair of kakémonos, on silk, painted in mono-
chrome. Size, 873 x 113.
Chinese landscapes.
Mountain scenery. No. 739 shows a winter view of a mountain lake.
Painted by' 了 ASE-GAWA SRTTEIT (an artist of the Ukiyo-yé
school) at the age of eighty. Signed Sur-rer. Seal.
Nineteenth century.
740. Kakémono, on silk, painted in colours. Size, 412 x 173.
Birds and flowers.
Painted by Sexi-sur Yen-Ko. Signed. Seal. Dated in
the cyclical year Kinoto Tori (1825).
741. Kakémono, on silk, painted in colours. Size, 49} x 18.
Bird and flowers.
Painted by Kiv-snun Sz-toxv. Signed. Two seals.
Dated in the cyclical year Hinoyé M’ma (1846).
742. Kakémono, on silk, painted in monochrome. Size, 364 x 157.
Wild geese.
Painted by JSHI-MURA Sut-pun. Signed. Two seals.
Nineteenth century.
Seal indicating point of commencement at right lower corner.
743. Kakémono, on silk, painted in colours. Size, 183 x 358.
Peacocks and roses.
Painted by SAKU-RAIT SHID-ZAN (a female artist). Signed
Surt-zan Jo-SHI. Early part of nineteenth century.
744 and 745. A pair of kakémonos, on silk, painted in colours.
Size, 43 x 163.
(1.) The Hundred Crows.
(2.) The Hundred Egrets.
Painted by Suit-x1. Signed. Seal. Nineteenth century.
The first of the pair is signed Sait-x1 Ro-sr1y, or the ancient
SHIE-KI; the second bears only the characters SHITD-KL，
Q 2
228 JAPANESE PICTORIAL ART.

746, Kakémono, on silk, painted in colours. .Size, 541 x 271.

Peacock and hen, with the pine and peony.
The painting of the tree is far less conventional than in the
works of the Kano school.
Painted by Sur-xo Sd-nmy. Signed. Two seals. Early
part of nineteenth century.

747. Kakémono, on silk, painted in monochrome. Size, 42 x 181,

Squirrels and vine. Moonlight,
This is a reproduction, but of original composition, of an old
Chinese motive. The first picture of ‘The Squirrel and Vine’
appears to have been painted by Mine YUDEN Cuana, a famous artist of
the Sung dynasty, and has been repeated by innumerable copies in
‘Japan. The original has been engraved in the Wa-kan mei-gwa yen.
Painted by Sut-Ko Sd-rr. Signed. Two seals, Early
part of nineteenth century. |

‘748. Kakémono, on silk, painted in colours. Size, 40} x 123.

Sparrows quarreling.
Painted by SHI-KO So-rin. Signed. Two seals. Early
part of nineteenth century. -

749. Kakémono, on silk, painted in colours. Size, 39} x 161,

Peony.
Painted by So-sHd. Signed. Seal. Nineteenth century.

750. Kakémono, on silk, painted in colours. Size, 37} x 137.

Chinese landscape. Snow scene.
Painted chiefly in ink, water and buildings lightly washed with
colour.
Painted by SHO-T0， Signed. Seal. Nineteenth century,

751. Kakémono, on silk, painted in colours. Size, 172 x 281.

Mandarin ducks.
The ducks are swimming in a lake, which is overhung by a
snowy branch of plum in full blossom. The water is lightly tinted
with blue, and its transparency is indicated by the outline of
the immersed portions of the birds, but there is no attempt to
show the effects of refraction.
 CHINESE SCHOOL. 229

Painted by MURA-TA 8O-HAKU. Signed. Two seals. Dated

in the cyclical year of Tsuchi no yé Inu. Seal indicating
point of commencement at right lower corner. Seventeenth
century.
The Mandarin duck and drake are regarded both in China and Japan as
emblems of conjugal affection.

752. Kakémono, on silk, painted in colours. Size, 36} x 13.

Birds. Quails, woodpecker, sparrow, &c.
Artist unknown. ‘Two seals. Nineteenth century.
753. Kakémono, on silk, painted in colours. Size, 29 x 2632.
Han-sin (Jap. Kansuin) creeping beneath the legs of the
~ Coolie.
Painted by Tat-san TEN-SEI-ITSU at “ Ké-kwai Shé-ken ”
(name of a house). Signed. Two seals. Nineteenth
century.
Han-sin was a powerful adherent of Liu Pang (see No. 1297), and one
of the “‘ Three Heroes” of the Han dynasty. He was of noble origin, but
was reduced by family reverses to such poverty that he was compelled
to obtain sustenance by angling for fish in the moat of his ancestral
stronghold.
The subject of the picture is the oft-quoted display of moral courage
which characterized the outset of his career, when he patiently submitted
to the insults of a common labourer in the market-place, and even
humiliated himself by consenting to crawl beneath the fellow’s legs rather
than compromise the great future to which he felt himself destined, by
engaging in an unworthy brawl with such an antagonist. He eventually
became a famous general, and in 203 B.c. was created prince of the
territory which embraced his ancestral domain. After his elevation he
sought out the man before whom he had degraded himself in the market-
place and took him into his service.
He was executed under a false accusation of treason 196 B.c. (see
Mayers’ ‘ Chinese Reader’s Manual,’ p. 1, No. 156).

754. Kakémono, on paper, painted in colours. Size, 45 x 162.

Fowls and chrysanthemums.
Painted by TAI-KIO-MO. Signed. Two seals. Nine-
teenth century.
755 and 756. <A pair of kakémonos, on silk, painted in colours.
Size 362 x 143.
(1.) Daikoku riding upon an ox.
(2). Ebisu on horseback.
Painted by Kaxu-noxvu-sixi To-zan. Signed. Two seals.
Dated in the second year of Ansei (1855).
230 JAPANESE PICTORIAL ART.

757. Kakémono, on silk, painted in colours. Size, 871 x 158.

Festival ceremony of “ Go-han” at Nikko.
A ceremonial held at Nikk6, in the tenth year of Kwan-sei
(1798) to celebrate the building of a temple.
Painted by Tsursumr To-suru. Signed. Seal. End of
eighteenth century.
758. Kakémono, on silk, painted in monochrome. Size, 37% x 133.
Cranes.
Rapid sketches, on silk of Chinese manufacture.
Painted by -To-xKwa-sar Signed. Seal. Nineteenth
century.
759. Kakémono, on silk, painted in colours. Size, 294 x 113.
Chung Kwei sharpening his sword upon a rock. (See
No. 637.)
Painted by TO-KWA-SAI Rut-yo. Signed. Seal. Nine-
teenth century.
760 and 761. A pair of kakémonos, on silk, painted in colours.
Size, 42 x 201.
Flowers. Peonies, cherry blossoms, &c.
Painted by To-nry. Signed. Seal. Early part of nine-
teenth century.
762. Kakémono, on silk, painted in colours. Size, 16 x 224.
A basketof flowers, peonies, chrysanthemums, &c.
Painted by To-rin. Signed. Seal. Dated in the cyclical
year of Hinoto Tori (1837).
763. Kakémono, on silk, painted in colours. Size, 86 x 15}.
Kwan Yii. (See No. 218.)
The hero is seated in a red lacquered arm-chair, and holds a large
roll in his hand.
Painted by To-sar. Signed. Two seals. Poetical in-
scription above picture. Nineteenth century.
764. Kakémono, on silk, painted in colours. Size, 42} x 16}.
Wild ducks flying.
Snow scene. Moonlight. The artist has tinted the moon with
shadow, to give the necessary prominence to the snow-laden leaves
of a tree.
Painted by To-yen. Signed. Two seals. Dated in the
cyclical year of Kinoto Hitsuji (1835).
 CHINESE SCHOOL. 231

765. Kakémono, on silk, painted in colours. Size, 422 x 173.

The Seven Worthies of the Bamboo Grove.
Seven sages, occupied with music, reading, and conversation.
The bad drawing of the upturned and profile faces is an example
of the carelessness or want of skill always displayed in rendering
the features in these aspects. :
Painted by To-sun. Signed. Seal. Early part of
nineteenth century.
The Seven Worthies of the Bamboo Grove (Chikurin Shichi Kenjin;
or Chuh Lin Tsi Hien) were a famous club of learned men in the third
century, whose meetings were held in a grove of bamboos. Ki-K’ang
(died 262 a.p.), Shan-tao (died circa 285), and Yiian Ts’i (died 263 a.p.)
were the most celebrated of the number.
According to Thornton (‘ History of China,’ vol. i. p. 416) these men
effected much evil in China by their pernicious tenets and example.
“They disregarded and decried all laws and ceremonies, and professed a
base kind of Epicureanism, pretending that human happiness consisted in
a complete emancipation from all cares and distractions of life and in
unrestrained indulgence in wine.”
There are few subjects more frequently represented than this by the
painters of the older schools.

766. Kakémono, on silk, painted in colours. Size, 42} x 121.

Crows.
A clever example of rapid but expressive manipulation. The
work is almost a monochrome, but is completed by a few sparing
touches of colour.
Painted by To-s0. Signed. Seal. Seal indicating point
of commencement at left upper corner. Dated in the
cyclical year of Hinoto ushi (1757).

767. Kakémono, on silk, painted in colours. Size, 393 x 19.

Crows, with willow and plum-trees.
Sketched in the rapid style, and bears considerable resemblance
to Chinese work.
Painted by Surv To-naxu. Signed. Two seals. EHigh-
teenth century.

768. Kakémono, on silk, painted in colours. Size, 36} x 12%.

- Bird and plum blossom.
Rapidly sketched.
Painted by To-cun. Signed. Seal. Nineteenth century.
 232 JAPANESE PICTORIAL ART.

769. Kakémono, on silk, painted in colours. Size, 824 x 158.

Shan-kien (Jap. SANKAN). |
A Chinese sage riding upon a mule, with his face turned towards
the tail.
Painted by To-nd. Signed. Two seals. Poetical inscrip-
tion above the picture. Seventeenth century.
Shan-kien was one of the Seven Wise Men of the Eastern Tsin dynasty,
and a governor-general of a southern province in the time of the Emperor
Muh-ti (845-362 a.p.). It is said that he was so enraptured with the
scenery of a certain lake where he was in the habit of regaling himself
with wine in his intervals of leisure, that on riding home from the place he
always sat with. his face to the tail of the horse that he might behold the
view till distance removed it from his sight (see H-hon riozai, vol. iii.),
770. Kakémono, on silk, painted in monochrome. Size, 131 x 17.
Bamboos.
Rapidly sketched.
Painted by the Governor of Tsu-yama. Seal. Seal in-
dicating point of commencement at left lower corner.
HKighteenth century.
771. Kakémono, on silk, painted in colours. Size, 394 x 14}.
Cranes.
A variation of the well-known subject in which the sun, the sea,
a rock with pine and peach-trees, are combined as emblems of
longevity. (See No. 690.)
Painted by Tsurv-xawa. Signed TSURU-KAWA To6-a1. Two
seals. Nineteenth century.
772. Kakémono, on silk, painted in colours. Size, 32% x 103.
Drake and duck swimming. |
The water, as usual, shows neither transparency nor the property
of reflection. The wave-lines are so indicated as to convey an
impression that the surface of the stream is inclined strongly down-
wards.
Painted by UN-TEI， Signed. Seal. Nineteenth century.
773 and 774. A pair of kakémonos, on silk, painted in colours.
Size, 39 x 13}.
Egrets.
Painted by Un-rer. Signed. Seal. Nineteenth century.
yfybay Kakémono, on silk, painted in colours. Size, 362 x 13.
Egret and humming-bird.
Painted by UN-YEI (female artist). Signed UN-YEI Jo-sut.
Nineteenth century.

ae
eS
 CHINESE SCHOOL. 233

776. Kakémono, on paper, painted in colours. Size, 88% x 16.

Crow. .
Rapid style.
Painted by Yru-n1. Signed Kid Saun-xer Yiu-n1. Com-
mencing seal at right lower corner. End of eighteenth
century.

777. Kakémono, on silk, painted in colours. Size, 37} x 14}.

Hawk on pine-tree.
Painted by Yru-u1. Signed Kid SHUN-KEI YIU-HI， Two
seals. End of eighteenth century.

778. Kakémono, on silk, painted in colours. Size, 253 x 394.

Si Wang Mu (Jap. Sar-50-B5) and Mao Ni (Jap. Mo-s0).
(See No. 705.)
A young girl clad in a deer-skin, and accompanied by a white
deer, is standing beneath the peach-tree of the immortals, offering
one of the fruit to the Queen of the Genii, who with her attendant
fan-bearer is borne upon a cloud above the waves. .
Painted by Yro-Hr， Signed KRIO SHUN-KEI YIU-HI.
Eighteenth century.
779. Kakémono, on silk, painted in colours. Size, 39} x 18%.
Flowers. Cockscomb, chrysanthemums, and lily.
Rapidly sketched.
Painted by Yru-zan Sen-sud. Signed. Seal. Seal indi-
cating point of commencement at right lower corner.
Nineteenth century.
780. Kakémono, on silk, painted in colours. Size, 453 x 16,
Birds and flowers,
Painted by Y6-aioxv. Signed. Two seals. Nineteenth
century.
781. Kakémono, on silk, painted in colours. Size, 29} x 113.
Kensu, the prawn priest. |
Roughly sketched upon a coarse transparent fabric, which is
lined and coloured at the margins to represent the mounting.
Painted by Zo-roxu. Signed. Seal. Nineteenth century.
Kensu of Keicho-fu was a bonze of the Binsen sect. According to the
E-hon Hokan he was an eccentric person of somewhat nomadic proclivities,
and wore only one dress, winter and summer, ‘“ Eyery day he caught
234 JAPANESE PICTORIAL ART.

prawns and filled his stomach, and at night he slept in the temple called
Hakuba-bujo in Mount Tozan. And the people called him Kensu Osho
(The Prawn Priest).”

782. Kakémono, on silk, painted in monochrome. Size, 422 x 173.

Monkeys.
The long-armed species frequently represented in Japanese
pictures, but not found in Japan. It is probably a Chinese
gibbon.
A white monkey in the picture is brought into prominence by
darkening the background immediately around the figure.
The painting bears evidence of amateur origin.
Painted by Dari TSUNA-MUNE (Daimio of Sendai). Signed.
Seal. Seventeenth century.
783. Kakémono, on silk, painted in colours. Size, 393 x 14.
Birds.
A good example of the vigorous style of colouring characterising
the works of one section of the Chinese school.
Painted by Ucst-pa DEN-YEI， Signed. Seal. Nine-
teenth century.
784. Kakémono, on silk, painted in monochrome and gold. Size,
87 xX 133.
Mandjus’ri (Jap. Monsv).
An effeminate figure seated upon the conventional lion, and
holding a sceptre.
Painted by Dat-cmmn. Signed DAI-CHIN Tama. Two
seals. Nineteenth century.

785. Kakémono, on silk, painted in colours. Size, 18 x 25%.

Sleeping cat and peony.
Chiefly of interest as the work of a lady amateur.
Painted by Madame Fuxv-1, the wife of the Daimio of
Echizen, Eighteenth century.
786. Kakémono, on silk, painted in colours. Size, 513 x 221,
Birds and flowers.
Painter unknown. No signature or seal. Nineteenth
century.
787. Kakémono, on silk, painted in colours. Size, 75 x 333.
Chinese landscape.
Sages in a garden. Summer scene.
Painter unknown. Seal. Nineteenth century.
 CHINESE SCHOOL. é, 235

788. Kakémono, on silk, painted in colours. Size, 383 x 13.

Fukurokujiu with emblems of longevity.
Fukurokujiu, recognizable by his tall head, is seated upon a rock
by the sea-shore, overshadowed by the branches of bamboo and pine ;
near by are the stork, the white stag, and the sacred tortoise; and
a boy presents to him a salver upon which are three of the peaches
of longevity, from the fairy gardens of Si Wang Mu.
Painted by Gun-taxu (?). Signed Ox1d (forgery). Seals.
Kighteenth century.

789. Kakémono, on silk, painted in colours. Size, 13} x 223.

Landscape. Japanese scenery.
An attempt at perspective is noticeable in the drawing of the
boundary ridges of the rice fields, but is not repeated in the out-
lines of the buildings. The execution is in the style of Haruxr
NAnko.
Painted by Ro-san. Signed. Seal. End of eighteenth
century.

790. Kakémono, on silk, painted in colours. Size, 89% x 143.

Puppies and peony. |
Painter unknown. No signature. Two seals. Nine-
teenth century.

791 and 792. <A pair of kakémonos, on silk, painted in colours.

Size, 337 x 124.
Birds and flowers. Rapid sketch.
Painter unknown. No signature or seal. Nineteenth
century.

793. Kakémono, on silk, painted in monochrome. Size, 22 x 10}.

The swift-flying demon (BUN-sHO-SEI).
A demoniacal figure, resembling the Buddhist Asura, holds in one
hand a box, in the other a brush. He is mounted upon an animal
which has the head of a dragon, the body and tail of a fish, and
wings formed by an expansion of the pectoral fins.
Painter unknown. No name or seal. Nineteenth century.

The subject is frequently met with in glyptic art. It is probably

emblematic of the power and swift dissemination of written thoughts.
256 JAPANESE PICTORIAL ART.

794 and 795. A pair of kakémonos, on silk, painted in colours.

Size, 572 x 248,
(1.) Kin-kao (Jap. Kry-xo Senniy). The Carp Rishi.
A boyish figure in Chinese dress holding a blue cup. The con-
ventional drawingof the waves, and the use of clouds to indicate
ranges of distance may be noted. The usual vermilion sun is
replaced by a golden disc.

(2.) Ch’én Nan (Jap. OHINNAN SENNIN)， The Dragon

Rishi. ;
A sage seated upon the head of a dragon, holding up a bowl
from which ascend two dragons in a wreath of vapour. The
dragons are sketched in the style of Kano Tanyu.
Painter unknown. No signature or seal. Eighteenth
century.
Kin-kao was a sage who lived in Northern China about the twelfth
century. It is said that he wandered over the province of Chih-li for two
centuries, and then taking leave of his disciples with a promise to return
by a certain day, he plunged into the river. When the appointed time
for his reappearance arrived, the pupils with a great multitude assembled
upon the bank, and having duly bathed and purified themselves, made
offerings to him. At length in the sight of ten thousand persons he
sprang from the water riding upon a carp. After tarrying with his friends
for a month he again entered the river and was seen no more.
Ch’én Nan was a rishi who, although possessed of supernatural powers
that enabled him to cure the sick with magic pills, transmute silver into
gold, travel four or five hundred li a day, and do other wonderful things,
nevertheless clothed himself in rags, kept his body covered with dust,
lived upon dog’s flesh, sometimes passed the whole day in a state of
drunkenness, and was content to gain his livelihood by making baskets,
sieves, and other humble utensils. Once upon a time, as he passed
through a place where the people were praying for rain, he took an iron rod
in his hand and stirred a deep pool, wherein he had divined the presence of
a dragon, and in a short space of time a thunderstorm broke with such
violence that the rivers were instantly flooded.
The most common subject for the artist is the invocation of the dragon.
The rishi is sometimes represented also floating upon a stream supported
by a large basket-work hat, which he is said to have used as a boat on an
occasion when the ferryman would not venture upon the water.
He is supposed to have disappeared in the sea early in the thirteenth
century after having passed a life of 1350 years.

796. Kakémono, on silk, painted in colours. Size, 393 x 138}.

Birds and flowers.
Artist unknown. No signature. Two seals. Nineteenth
century.
 CHINESE SCHOOL. 237

797 and 798. A pair of kakémonos, on paper, painted in colours.

Bize, 52 x 213.
The palace of A-fang Kung (Jap. ABOxIv).
A view of a great Chinese palace. Outside the walls and in the
court-yard are multitudes of visitors of rank. In the upper story
on the right is seated the Emperor in a gorgeous apartment of
reception, surrounded by his guards and musicians. The rooms of
the Empress are shown on the left.
The paintings are very old and much damaged, but there is no
clue to either artist or period. The two kakémonos form one
picture.
A-fang Kung is the name given to the great palace erected by She-
Hwang-ti, B.c. 212, near his ancestral capital Hien-yang. It is said that
the central hall was of such dimensions that ten thousand persons could be
assembled within it, and banners sixty feet in height could be unfurled
below its ceiling (see Mayers’ ‘ Chinese Reader’s Manual,’ p. 1, No. 1).

799 and 800, A pair of kakémonos, on silk, painted in mono-

chrome. Size, 3882 x 13%.
Dragons.
1. The Dragon of the Cataract emerging from the foam and,
spray of the fall.
2. The Dragon of Mount Fuji (Fuji, koshi no Rid) rising from
the waves to ascend to the summit of the peerless mountain,
Painter unknown. No signature. Two seals. Nine-
teenth century.

801. Kakémono, on silk, painted in monochrome. Size, 10} x 221,

Chinese sage,
A sage holding a Ju-i is riding upon a horse, and behind him
runs a boy carrying writing materials and a bundle of rolls. A
view of a palace is seen in the distance,
Artist unknown, No signature. Two seals. Nineteenth
century.

802. Kakémono, on silk, painted in colours. Size, 45 x 172.

Jurojin. (See p. 44.)
A venerable figure in the dress of a Chinese scholar, holding a
roll and accompanied by a white stag.
This picture is peculiar in its execution. The outline is
sketched in the usual manner, but the dress pattern appears to
have been executed by a mechanical process. The mounting border
is represented by a stencilled design upon the margins of the piece
of silk upon which the figure is drawn.
238 JAPANESE PICTORIAL ART.

_ It is possible that the whole picture “is an elaborate manual

imitation of the process of Yu-zen.
Artist unknown. No signature or seal. The kakémono
is endorsed as a “ five-colour picture,” a conventional term
implying that many colours are used. Early part of nine-
teenth century.

803. Kakémono, on silk, painted in colours. Size, 838} x 133.

Si Wang Mu. (See No. 705.)
The fairy queen, in royal garments, is attended by a young girl,
who holds up a green dish bearing the fruit and flowers of the
peach-tree of longevity. Near the figures is seen the magic tree,
laden with fruit and blossom.
Cloud strata are introduced between the nearer and more remote
branches of the tree, perhaps with the intention of conveying an
idea of the gigantic proportions of the elements of the scene. The
bordering is represented by a design, apparently stencilled, as in
No. 802.
Artist unknown. Nineteenth century.

804. Kakémono, on silk, painted in colours. Size, 563 x 301.

Cat and flowers.
A spirited specimen of the rapid manner of the Chinese school.
Artist unknown. No signature. Seal. Seventeenth
century.

805. Kakémono, on silk, painted in colours. Size, 37 x B1L.

Basket of flowers.
It is noticeable as a peculiarity of style, that the petals of the
flowers are outlined in white.
Artist unknown. Two large seals. Seal indicating point of
commencement at right lower corner. Highteenth century.
806. Kakémono, on silk, painted in colours. Size, 44 x 171.
Wild geese.
Painted by WATANA-BE GEN-TAI Signed Gren-rar Dé-s1n
Hen-yer. Seal. Early part of nineteenth century.

807. Kakémono, on silk, painted in colours. Size, 42 x 143.

Cranes.
Associated with the bird of Fukurokujiu are the pine, bamboo,
 CHINESE SCHOOL. 239

and the sacred fungus, all having a similar emblematic reference to

longevity.
Painted by Kaxu-sen. Signed Kaxv-sen To-c1. Two
seals. Early part of nineteenth century.

808. Kakémono, on silk, painted in colours, Size, 12} x 17.

Kingfisher.
Painted by Kon-zan. Signed TAI-IN Rio-son. Seal. Seal
indicating point of commencement at the left lower corner.
End of eighteenth century.

809. Kakémono, on silk, painted in colours. Size, 393 x 12}.

Cranes with other emblems of longevity.
Painted by NAN-TEI, Signed. Seal. arly part of nine-
teenth century.

810. Kakémone, on silk, painted in colours. Size, 47% x 20.

Crane, small birds, and flowers.
Painted by San-suin. Signed. Two seals. Nineteenth
century.

811. Kakémono, on silk, painted in monochrome. Size, 393 x 121.

Wild goose flying.
Painted by Saun-sat. Signed. Seal. Highteenth century.

812. Kakémono, on paper, painted in monochrome. Size, 413 x 113.

Chrysanthemum and peony.
Sketched in the style of the Southern Chinese school.
Painted by IE-NO Tar-ca-pd. Signed Tar-aa-nd. Seal.
Eighteenth century.
813. Kakémono, on silk, painted in colours. Size, 391 x 163.
Bird and flowers.
Painted by Tsuru-xawa. Signed. Three seals. Nine-
teenth century.
814. Kakémono, on silk, painted in colours, Size, 383} x 17}.
Chinese landscape.
Wild rocky scenery. A drove of mules in the foreground.
Painted by SuxrT-YE Bu-zen. Signed Bu-zen. Seal.
End of eighteenth century.
240 JAPANESH PICTORIAL ART.

815. Kakémono, on silk, painted in colours. Size, 22} x 342.

‘Waterfall with Mount Fuji in the distance.
Style, intermediate between that of Chinese and Shijé schools.
Painted by Bu-zmn. Signed. Seal. Eighteenth century.

816. Kakémono, on silk, painted in colours. Size, 493 x 193.

Peacocks and Pine,
Painted by To-canv. Signed. Seal. Dated 1834.
817. Kakémono, on silk, painted in colours. Size, 343 x 13%.
Peacock and Bamboo.
Painted by Sut-xo 80-RIN， Signed. Seal. Nineteenth
century.

817a and 817b. A pair of kakémonos, on silk, painted ir colours.

Size, 573 x 184.
Cranes and tortoises.
Painted by To-ran. Signed. Seal. Nineteenth century.
818. Kakémono, on silk, painted in monochrome and gold.
Size, 834 x 483.
“The Thousand Carp.”
The spectator is supposed to be looking into the water, as
through the glass front of an aquarium, at an approaching shoal of
carp, the nearest of which appears to be coming out of the picture,
while the most remote are dimly seen in the far perspective of the
liquid depth. The painting in many respects contradicts the
ordinary practice of Sinico-Japanese Art,in comprising a careful
observance of the laws of apparent size in ratio to distance, and an
almost scientific conception of high lights and shadow gradations.
The style of colouring is that of the Chinese school, but the
design is more suggestive of Shijs teaching. The use of gold to
render the effect of high lights is worthy of remark.

Painted by Inagax1. Signed To-sar. Nineteenth century.

819. Kakémono on silk, painted in colours. Size, 14 x 22.

Chinese landscape. Snow scene.
Painted by Sud-zan. Signed. Seal. Nineteenth century.

820. Kakémono, on silk, painted in colours. Size, 41% x 152.

Chinese lady and monkeys. ,
Painted in the style of the Shijé school, with a light, graceful
 CHINESE SCHOOL. 241

touch, and thinly coloured. The monkeys are worthy of the brush
of SosEn.
Painted by SAKU-RAI SHID-ZAN (a female artist). Signed
Suiv-zan Br-rvu (beautiful woman). Seal. Early part of
nineteenth century.
821. Kakémono, on silk, painted in colours. Size, 454 x 24.
Waterfall. Chinese scene.
Painted by TAN-I Bun-cnd. Signed BuN-cHO， Seal.
End of eighteenth century.
822. Kakémono, on silk, painted in colours. Size, 433 x 233.
Ancient Chinese Emperor with attendants. (Yu, the
Great ?)
A youthful but dignified figure, crowned with the imperial
dragon-crested diadem, and attired in a long red robe decorated
with golden clouds and phonixes. He is accompanied by two
attendants, one of whom bears a large fan-screen, the other a salver
of precious stones.
In the style of the Chinese school. Painted by Tan-1
Bun-cu6. Signed Bun-cnd. Seal. Dated in the eighth year
of Kwansei (1796).
823. Kakémono, on a transparent woven fabric, painted in mono-
chrome. Size, 83 x 114.
Landscape (roughly sketched).
. Painted by TAN-I Bun-cnd. Signed Bun-cud. Seal.
Early part of nineteenth century.

824. Kakémono, on silk, painted in colours. Size, 48} x 18}.

Chinese landscape with figures. Su-she (Jap. SOSHA or
Tosa), at Ch’ih Pi (Jap. Sixmerxn),
Picturesque lake and mountain scenery.
Painted by TAN-I Bun-cnd. Signed Bun-cnd. Seal.
Early part of nineteenth century.
The subject is known as the “ Sékihéki no Dzu,” or “ Picture of Ch’ih Pi.”
Ch’ih Pi is situated east of the modern Hankow, and is celebrated as the
place of a battle between Lu Pei and Ts'ao T's’ao in 208 a.p. The pleasure
excursion of Su-she is said to have taken place in the year 1082, on the
15th day of the 5th month.
Su-she was a celebrated statesman, poet, and calligraphist of the eleventh
century. After the most flattering recognition of his merits at the hands
of his sovereign, his enemies succeeded twice in causing his degradation to
-R
242 JAPANESE PICTORIAL ART.

oflices far below his deserts and capacity, but he always conducted the
duties of his administration in such a manner as to exercise the most
beneficial influence in the places where his adverse lot was cast. He
died at the age of sixty-five, shortly after his return from banishment, in
1107 a.pD..
He often appears in Japanese pictures as a sage wearing a hat of enor-
mous width, and riding upon a mule through a snow-clad landscape.

825. Kakémono, on silk, painted in colours. Size, 543 x 233.

Fowls and peonies.
Painted by TAN-I Buy-cud. Signed Bun-cnd. Seal.
Early part of nineteenth century.
826. Kakémono, on paper, painted in monochrome. Size,
633 x 324.
Storm-dragon.
Boldly sketched with a coarse brush.
Painted by TAN-I Bun-cud. Signed Bun-cuo. Seal.
Early part of nineteenth century.
827. Kakémono, on silk, painted in colours. Size, 163 x 11%.
Japanese monkey.
Painted by TAN-I Bun-cud. Signed Bun-cud. Seal.
Early part of nineteenth century.
828. Kakémono, on silk, painted in colours. Size, 323 x 184.
Peony.
Painted by Tan-1 Bun-cHd. Signed Bun-cud. Seal.
Early part of nineteenth century.
829. Kakémono, on silk, painted in colours. Size, 28} x 144.
Chinese Sage.
Painted by Tan-1 Bun-cnd. Signed BuN-oHO. Seal.
Dated in the cyclical year of Hinoto no Mi (1797).
830. Kakémono, on silk, painted in colours, Size 48 x 134.
Chinese landscape with figures.
Painted by TAN-I Bun-cu6. Signed Bun-cwo. Seal. Dated
in the second year of Bunkwa (1809),
831. Kakémono, on silk, painted in colours. Size, 394 x 13].
Landscape (mountain scenery).
Painted by TAN-I Bun-cnd. Signed Bun-cnd. Seal.
Early part of nineteenth century.
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ISOHD
 CHINESE SCHOOL. 243

832. Kakémono, on silk, painted in colours. Size, 44 x 21},

Carp.
Painted by Tan-1 Bun-cud. Signed Bun-cHd. Two seals.
Early part of nineteenth century.

833. Kakémono, on silk, painted in monochrome. Size, 594 x 2732.

| Carp and Pipe-fishes.
Painted by TAN-I BUN-oHO. Signed. Seal. Early part
of nineteenth century.

834. Kakémono, on silk, painted in colours. Size, 564 x 31}.

The baptism of S’Akyamuni by the Naga-radja.
Hight dragon kings enveloped by clouds are pouring forth
streams of water. The infant S’Akyamuni does not appear in the
picture.
Painted by TAN-I Bun-cHd. Signed. Seal. Dated in
the sixth year of Bunsei (1823).

835. Kakémono, on silk, painted in colours. Size, 363 x 13}.

Ghost.

A ghastly female figure with long dishevelled hair, greenish

corpse-like complexion, dusky lips, white pupils, and pendent ear-
lobes. The apparition, enveloped in its winding-sheet, is floating
through a doorway.
Painted by TAN-I Bun-ond. Signed Bun-cwHd. Seal.
Early part of nineteenth century.

836. Kakémono, on silk, painted in colours. Size, 243 x 147.

Sparrows and millet.
Painted by Tan-1 Bun-cHd. Signed BuN-cHO， Seal,
Nineteenth century.

837. Kakémono, on silk, painted in colours. Size 144 x 23).

Japanese river scenery (probably the Sumida-gawa).
Painted by Bun-rrsv. Signed. Seal. Nineteenth century.

838. Kakémono, on silk, painted in colours. Size, 147 x 204.

Landscape, with view of Mount Fuji.
Painted by Bun-cniv. Signed. Seal. Nineteenth century.
R 2
244 JAPANESE PICTORIAL ART.

839. Kakémono, on silk, painted in colours. Size, 44 x 143.

The Seven Gods of Good Fortune. (See p. 27.)
Hotei, Ebisu, and Daikoku, are making merry; Fukurokujiu
converses with Bishamon; Jurdjin sits apart with an abstracted
expression, and Benten is playing upon the biwa.
Painted by Bun-son. Signed. Seal. Nineteenth century.
840 to 842. A set of three kakémonos, on silk, painted in colours.
Size, 393 x 132.
Performers in “No” theatre.
1. Character of “ Samba-si.”’
The actor, with a black mask, holds in one hand a fan on which
is painted a branch of pine, in the other a number of small bells
attached to a single handle. His outer dress is decorated with
designs of storks and tortoises.
2. Character of “ Okina.”
The mask is that of an old man; the upper garment bears con-
ventionalized figures of the stork, bamboo, and pine. The fan is
embellished with an illuminated design of a peacock and bamboo.
3. An unmasked performer with an outer dress showing figures
of storks and tortoises.
Painted by Bun-suty. Signed. Seal. Nineteenth century.
843. Kakémono, on silk, painted in colours. Size, 431 x 153.
The winter flight of Tokiwa.
Painted by Bun-surn. Signed. Seal. Nineteenth century.
Tokiwa was the concubine of Minamoto no Yoshitomo, the father of
Yoritomo. A thousand of the most beautiful women in Kioto were sought
out for the Emperor Kujo no In, the number was reduced by selection to
one hundred and then to ten; and of these Tukiwa was the fairest. It
was indeed believed that the Chinese Li Fu-jén and Yang Kwei Fei were
less perfect than she.”
After the death of Yoshitomo in 1159, Tokiwa fled with her three sons,
Imawaka, aged seven, Otowaka, aged five, and Ushiwaka (afterwards
known as Yoshitsuné), an infant of one year. She first stayed at the
district of Uta in Yamato, but finding no succour, went on to Taitojiu.
There learning that her mother had been put to the torture by the order of
Kiyomori, who hoped by this means to discover the place of concealment
. of his enemy’s children, she determined to risk all to save her parent’s life.
“The lives of the three princes,” says the Gikeiki, “could only be preserved
by the sacrifice of her aged mother; but a mother is dearer even than
sons, and the gods take delight in the manif stations of filial piety.” She
therefore courageously gave herself up at Kioto, and was thence taken to
Kiyomori. “He had at first thought to kill her by fire or drowning, but
when he looked upon her face his angry spirit was quenched.” He spared
 CHINESE SCHOOL. 245

her that she might become his mistress, and spared her children, to
win their mother’s favour—and at length, in the interests of the sons of
her former lover, she sacrificed herself to the desires of his destroyer.
(See Gikeiki, vol. i.)

844 to 846. A set of three kakémonos, on silk, painted in colours.

Size, 43} x 14}.
(1) and (2). Chinese landscapes: Rice cultivation.
(3). Portrait of Chu-ko Liang.
Painted by Bun-y6. Signed. Seal. Nineteenth century.
Chu-ko Liang, also known as K’ung Ming (Jap. Sho-katsu-rid, or Ko-
mei), was the famous counseller of Liu-pei. Liu-pei having heard from
one of his retainers of the wisdom of Chu-ko Liang, went in person to
beg his aid in the wars that brought the Han dynasty to a close.
After many disappointments and delays, to which he submitted with a
patience that exasperated his companions Chang Fei and Kwan Yi he at
length reached the little hut in which the philosopher lay sleeping. Leay-
ing his angry brethren outside, the great general and future monarch re-
spectfully waited for six hours until Chu-ko Liang had awakened, and
then preferred his request with all due ceremony. The sage, who is
described as eight feet high and of imposing aspect, consented to accom-
pany him, and to give to his projects the assistance of his advice and expe-
rience (E-hon Ridzai). The ultimate success of Liu-pei is considered
mainly attributable to his counsellor’s wisdom and science in the art of
warfare. (See No. 1546.)
Chu-ko Liang died while lying encamped against the rival kingdom of
Wei, in a.p. 234, in the fifty-third year of his age. (Mayers.)

847. Kakémono, on silk, painted in colours. Size, 443 x 16}.

Lin Hwo-ching and crane. (See No. 670.)
Painted by Bun-yd. Signed. Seal. Dated in the 12th.
year of Tempo (1841).

848. Kakémono, on silk, painted in colours. Size, 443 x 214.

Demons preparing a feast under the direction of
Chung Kwei. (See No. 687.)
Painted by Bun-xut. Signed. Seal. Nineteenth century.
Poetical inscription by Okotsu Kwan, or Taiken, the author of
‘A Collection of Poems by Taiken Shiko.’

849. Kakémono, on paper, painted in colours. Size, 34} x 173.

Chinese landscape.
Painted by Bun-xer. Signed. Seal. Nineteenth century.
 246 JAPANESE PICTORIAL ART.

850. Kakémono, on silk, painted in colours. Size, 392 x 163.

Chinese girl.
A girl cleansing wine-cups while a man measures out wine from
a large vessel.
Painted by BuN-KEI， Signed Bun-xer I-SHI Two seals.
Nineteenth century.
851. Kakémono, on paper, painted in colours. Size, 49 x 22.
Landscape. Snow scene.
Japanese figures in foreground, engaged in hawking. The
colouring of the picture resembles that of the Tosa school.
Painted by BuN-Y0-SAI Signed. Seal. Nineteenth
century.
852. Kakémono, on silk, painted in colours. Size, 483 x 164.
Chinese landscape.
Painted by Bun-y6. Signed. Seal. Nineteenth century.
853. Kakémono, on silk, painted in colours. Size, 413 x 17.
Kwan Yii. (See No. 218.)
Painted by Bun-p1d. Signed. Seal. Nineteenth century.
854. Kakémono, on silk, painted in colours. Size, 332 x 16.
Hawk and sparrow. Rain scene.
Painted by Suta%-maro Fusi (wana) Mrrsu-cura. Signed.
Seal. Eighteenth century.
855. Kakémono, on silk, painted in colours. Size, 44} x 128.
Chinese landscape. Kiang Tsze-ya fishing.
Painted by Kan-xo. Signed. Seal. Dated 4th year
of Kayei (1851).
856. Kakémono, on paper, painted in monochrome. Size, 512x 223.
Chinese landscape, mountain scenery.
Painted by To-smn. Signed. T6-sen MAYE-MURA CHTI-
soxu. Seal. Nineteenth century.
857. Kakémono, on silk, painted in monochrome. Size, 40} x 163.
Chinese landscape. Kiang Tsze-ya fishing.
Mountain and lake scenery.
Painted by Surrer Nad-axrra, Signed. Seal. Nine-
teenth century.
 CHINESE SCHOOL. 247

Kiang T'sze-ya (Jap. Kioshiga or Taikobo) is renowned in history as the

counsellor of Si Peh (12th century B.c.). He spent his life in the study
of astronomy, geography, and the art of warfare, and attained a ripe age
before emerging from obscurity. ‘He was very poor, but he was very
wise, and disapproving of the evil ways of Chow Sin, in whose territory he
lived, he would take no service in the state, but retired into the princi-
pality of Si Peh, the duke of Chow, to pass his days in fishing. His
wife could not bear their indigence patiently, and was unwilling to remain
longer with him ; but he entreated her to wait, saying that by the time he
reached the age of eighty his services would be called for, and she might
then live in affluence. And every day he angled by the shore, until once it
happened that his wife, who had brought him food, looked slyly into his
basket, saw its emptiness, then glancing at the end of bis line found the
hook represented by a straight pin. Upon this she reviled him and went
her way to seek another husband. Time passed, till at length Si Peh was
led by a revelation to seek the counsel and aid of Kiang T’sze-ya in the war
against the Western barbarians. The poor sage soon made his wisdom pro-
verbial, and at the end of some years retired from office loaded with wealth
and honours. Upon his return to his former home, while travelling in im-
posing state he was met by his wife, who kneeling in the dust at his feet,
prayed him to receive her again if only as a menial. For reply he poured a
dishful of water upon the ground and bid her put back the fluid in the
vessel. Her fingers groped uselessly in the mud, and he said, “ It is
no more possible that man and wife if once divorced can come together
again than that the spilt water should be replaced in the dish.” He then
proceeded on his way, while the woman, unable to bear the load of her
shame, went and hanged herself.
He died 1120 B.c. at the age of ninety years (Mayers). Compare with
the story of Chu Mai Ch’én, No. 1462.

858. Kakémono, on silk, painted in colours. Size, 21 x 34}.

Landscape. Sketched in ink, lightly tinted with colour.
Painted by Yosui-yuxi. Signed. Two seals. Nine-
teenth century. ，
859. Kakémono, on silk, painted in monochrome. Size, 393 x 144.
Chinese sage riding upon a mule in the rain (? Susshe).
Painted by OHO-YEN Surzu-zan. Signed. Seal. Nine-
teenth century.
860. Kakémono, on paper, painted in monochrome. Size, 38} x 113.
Monkeys catching fish.
A number of monkeys have formed a chain, suspended from the
limb of a tree which overhangs a stream, and the lowest of the
simian links is enabled to reach the water, and seize the fish with
his long arm.
Painted by Taxa K6-xoxu. Signed To-r1d O Ko-Koxv.
Seal. Highteenth century.
248 JAPANESE PICTORIAL ART.

861a. Kakémono, on silk, painted in colours, Size, 32} x 11%.

Cranes.
Poetical inscription, signed HI no DAINAGON，

861. Kakémono, on paper, painted in monochrome, Size, 323 x 13}.

Daikoku.
Painted by Yo-czrsu. Seal. End of fifteenth century.
862. Makimono, on paper, painted in monochrome. Size,
439 x 71.
Chinese landscape.
A continuous panorama vigorously sketched in ink, somewhat in
the style of Suisun.

Painted by So-aa Ja-soxu. Certified by Kano Yasunobu.

“This is a genuine drawing of Soga, possessing life, motion,
and beauty. Those who admire this, as I do, will recognise
the correctness of my words.” Fifteenth century.

863. Makimono, on paper, painted in monochrome. Size,

139 x 92.
Chinese landscapes.
Hight rapidly sketched views, in the style of SHIDBUN，
Artist unknown. Seal. Sixteenth century.

864. Makimono, on paper, painted in colours. Size, 820 x 14.

Drawings illustrative of poetry. Sketches of flowers.
Artist unknown. Nineteenth century.
865. Unmounted drawing, on silk, painted in colours. Size,
70 x 428.
Chinese landscape, with palace.
Painted by Sut-Ko Sd-rin. Signed. Seal. Nineteenth
century.
866. Unmounted drawing, on silk, painted in colours. Size,
624 x 41}.
Lao-tsz’, Confucius, S’akyamuni, and children.
Painted by 玉 0-SHUN-KI MO-SHN. No name or seal.
Nineteenth century.
 CHINESE SCHOOL. 249

867. Unmounted drawing, on silk, painted in colours. Size,

664 x 34.
Pheenixes (Ch. Féina-Hwane ; Jap. H6).
Painted by Haxu-yen GEN-MEI， Signed. Seal. Nine-
teenth century.
The Féng or Féng Hwang, (Féng is the name of the male animal,
Hwang that of the female: the combination of the two words gives
the generic designation of the animal) is one of the Four Supernatural
Creatures. It is said to have “the head of a pheasant, the beak of a
swallow, the neck of a tortoise, and the outward semblance of a dragon ”
(Mayers); but in works of art it is a nondescript bird of gorgeous plumage
intermediate between that of the peacock and bird of paradise, and bears
flame-like appendages where the neck joins the body.
Like the K’i-Lin it is regarded as an omen of national good, and is
supposed to herald the advent of a beneficent reign, (See No. 762.)

868. Unmounted drawing, on silk, painted in colours. Size,

51 x 28%.
Monkeys and chestnut-tree.
Painted by 了 AKU-YEN GEN-MEI， Signed Haxv-yven. Seal.
Nineteenth century.
869. Unmounted drawing, on silk, painted in colours. Size,
53} x 263.
Winter scene. Birds and pine-trees.
Painted by Kan-Ho-xitsv. Signed. Seal. Dated 7th year
of Meiji (1874).
870 and 871. A pair of unmounted drawings, on silk, painted in
colours. Size, 272 x 364.
Arhats. Bhadra and Panthaka. (See Buddhist School.)
Two aged men riding upon the waves, one mounted upon a white
tiger, the other upon a golden dragon.
Painted by Set-rrsu. Signed, Gaxu-roxu GWA-SHI SEI-
irsu. Nineteenth century.
872. Unmounted drawing, on silk, painted in colours. Size,
663 x 39.
Birds. Snow scene.
A multitude of birds of various kinds, torpid with cold, perched
upon the snow, laden with blooming branches of a plum-tree.
Painted by Kan-suit, in the style of the Ming pictures.
Signed. Two seals. Dated in the cyclical year of Hinoto
no Mi (1857).
250 JAPANESE PICTORIAL ART.

873. Unmounted drawing, on silk, painted in colours. Size,

584 x 34h.
Five Heroes of China.
The central figure is that of Kwan Yi.
Painted by K6-suun-x1 Mo-suin. Signed. Seal. Nine-
teenth century.

874 and 875. A pair of unmounted drawings, on silk, painted in

colours. Size, 532 x 273.
Landscapes, with waterfalls.
Artist unknown. No signature or seal. Nineteenth
century.

876. Unmounted drawing, on silk, painted in colours. Size,

5¢ X 54.
Landscape. Mountain scene.
Painted by Sur-an. Signed. Seal. Nineteenth century.

877. Unmounted drawing, on silk, painted in colours. Size,

63 x 74.
Bird and flower.
Painted by SHO-SAI Serrez. Signed. Seal. Nineteenth
century.

878. Unmounted drawing, on silk, painted in monochrome. Size,

4X7.
Landscape. Mountain hamlet.
Painted by Ran-sux. Signed. Seal. Nineteenth century.
879 to 884. A set of six unmounted drawings, on silk, painted
in monochrome and colours. Size, 62 x 62.
Landscapes. Scenes near Kioto.
1. By Boxv-an.
2. ,, SEKI-TEN BumMel.
3. ,, BaA-cHd.
4. ,, RAN-U-Jo.
5. ,, MATSU-DA SO-UN or NAN-KOKU.
6. ,, BuNKEL.
Signed. Seals. Nineteenth century.
885. Unmounted picture, on silk, painted in monochrome. Size,
74 x 6%.
 CHINESE SCHOOL. 251

Peasants.
Painted by Ho-nzn of Enriu-in. Signed. Seal. Nine-
teenth century.
886 to 889. A set of four unmounted drawings, on silk, painted
in monochrome. Sizes various.
Miscellaneous designs.
1. Sparrows fighting. Painted by Het-suid.
2. Long-armed monkey. Painted by Bun-son.
3. Birds. Painted by TAn-ret.
4, Moth and cherry flower. Painted by Set-suo.
All signed. Seals. Nineteenth century.
890 to 895. A set of six drawings, on silk, painted in monochrome
and colours. Size, 68 x 53.
Landscapes. Scenes near Kioto.
1. The sun setting behind an ancient temple.
2. Autumn leaves in Awata.
3. Early blossoming of the cherries in Nagara.
4, Young willows on the Eastern Bank.
5. Morning mist on the Northern Hill.
6. Snow-cloud on the Northern Mountain.
Sketched in the style of MI Yuen Cuane (Jap. BEI-GEN-SHO).
Artist unknown. Nineteenth century.
896 to 903. A set of eight unmounted drawings, on silk, painted
in monochrome and colours. Size, 84 x 5%.
Miscellaneous designs.
Painted by Ha-ra-mrrsu. Signed Ha-ra-murrsu 也 6-JiN.
Seal. Nineteenth century.
904 to 919. A set of sixteen unmounted drawings, on silk, in
monochrome and colours. Sizes various.
Miscellaneous designs by various artists.
. Landscape. In colours. Painted by DEn-sHIn.
. Cicada and fruit. In colours. Painted by Rivu-ko.
Wild Geese. Monochrome. Painted by MAN-SHI.
. Flowers. In colours. Painted by SEI-SHID，
. Orchid. Monochrome. Painted by Ri6-sHiv.
. Bird and flower. In colours. Painted by San-K6-sat.
ON
oP
NO. Landscape. Monochrome. Painted by 玉 ET-J0.
Dated in the cyclical year Kinoto Hitsuji (1847).
8 to 15. Various designs, painted in colour and monochrome.
Copied from old Chinese pictures. Artists unknown.
16, Pigeons. In colours. Artist unknown.
Nineteenth century.
252 JAPANESE PICTORIAL ART.

920 to 926. A set of seven unmounted drawings on paper, painted

in colours. Size, 162 x 114.
Birds and flowers. -
Artist unknown. Seal (Gun-Kar). Nineteenth century.

927 to 950. A set of twenty-four unmounted drawings, on paper,

painted in colours. Size, 114 x 83.
The Twenty-four Paragons of Filial Piety. (See p. 171.)
Painted by To-sar. Signed. Seal. Dated in the cyclical
year of Midzu-no-yé ushi. Sixteenth century.

951. Unmounted drawing, on silk, painted in colours. Size,

7} X 218.
Bird and autumn leaves. 上 an mount.
Painted by Sa-raxu Yur-Kat. Signed YEI-KAI。 Seal.
Nineteenth century.

952. Unmounted drawing, on paper, painted in colours. Size,

7 x 194.
Rats stealing an egg.
A rat lies upon its back grasping the egg with its four limbs
while a comrade drags him along by his tail. Fan mount.
Painted by SA-TAKE YEI-KAI， Signed Yer-xar. Seal.
Nineteenth century.

953. Unmounted drawing, on silk, painted in colours. Size,

8 x 64.
Aman reading.

Painted by Cuin-yd. Signed. Seal. Nineteenth century.

954. Unmounted drawing, on silk, painted in colours, Size,
14% x 203.
Chinese ladies. Winter scene.
Artist unknown. Nineteenth century.

955. Kakémono, on silk, painted in colours. Size, 62 x 823.

Chinese Landscape, Spring.
Painted by 百 AYA-SHI Bun-xwan. Signed, Bun-Kwan
YU-KEI， Seal. Nineteenth century.
 CHINESE SCHOOL. 253

956. Unmounted drawing, on silk, painted in monochrome. Size,

14} x 193.
The Dragon of the Peerless Mountain (上 urIKoSHI no
Rid).
Painted by Yo-zan. Signed. Seal. Dated in the
cyclical year Ki-no-yé Uma (1831).
957. Unmounted drawing, on silk, painted in colours. Size,
144 x 235.
The Serpent of the Peerless Mountain.
The dragon usually represented in its cloudy flight to the sum-
mit of the mountain is here replaced by a large serpent.
Painted by Tan-sut-sar at the age of seventy. Signed
Hoxx16 TAN-SUI-SAI (Kano School). Nineteenth century.
958. Unmounted drawing, on silk, painted in colours. Size,
15} x 21.
Chinese landscape.
Sketched in ink in the style of the old Kano artists, and lightly
coloured.
Painted by I-KAKU Yur-sud. Signed. Seal. Sixteenth
century (?).
959. Unmounted drawing, on silk, painted in colours, Size,
. 222 x 11.
Teal.
Painted by Un-xin. Signed. Seal. Nineteenth century.

960. Unmounted drawing, on silk, painted in colours. Size,

211 x 174.
Hawk and white rabbit.
Painted by Kwan-rrsu. Signed. Seal. Nineteenth century.

961. Unmounted drawing, on silk, painted in colours. Size,

143 x 193.
Cherry blossoms.
Painted by Té-sen. Signed. Seal. Nineteenth century.

962. Unmounted drawing, on silk, painted in colours. Size,

143 x 193.
Flowers and fruit.
Painted by Sur-ran. Signed. Seal. Nineteenth century.
254 JAPANESE PICTORIAL ART.

963. Unmounted drawing, on silk, painted in colours. Size,

82 x 53.
Shojo dancing. (See No. 645.)
Painted by UN-TEI， Signed. Seal. Nineteenth century.
964 to 996. A set of thirty-three unmounted drawings, on paper,
painted in colours. Size, 23} x 153.
Chinese legends of filial piety, &c. (See p. 171.)
Highly coloured, and gilded ;some unskilfully retouched.
Artist unknown. Eighteenth century.

997 to 999. A set of three unmounted drawings, on paper, painted

in colours. Size, 50 x 193.
Cranes and bamboos.
Highly decorative in treatment; originally executed for screen
pictures.
Painted by Tar-aaxu. Signed. Seal. End of eighteenth
century.

1000. Unmounted drawing, on silk, painted in colours. Size,

324 x 14.
Agricultural scene. View of Mount Fuji in the
distance.
The picture belongs to the Shijd school, but has accidentally
been misplaced.
Painted by Go-REI， Signed. Seal. Nineteenth century.

1001. Unmounted drawing, on silk, painted in colours. Size,

163 x 36.
Chinese landscape. View of Ch’ih pi (Jap. Sixr-nix1).
(See No. 824.)
Lake and mountains, moonlight.
Artist unknown. No signature. Two seals, almost
illegible. Nineteenth century.

1002. Unmounted drawing, on silk, painted in colours. Size,

293 x 14.
The Dragon of the Storm.
Artist unknown. No signature. Two seals. Nine-
teenth century.
 CHINESE SCHOOL. 255

1003 and 1004. A pair of unmounted drawings, on silk, painted

in colours. Size, 31} x 204.
Birds and flowers.
Originally drawn as decorations for the sliding-panels of a small
cupboard.
Painted by Un-r6. Signed. Seal. Nineteenth century.
1005. Unmounted drawing, on silk, painted in colours. Size,
272 x 19.
Cherry blossoms.
Painted by Hassar. Signed Hassar Ro-stn. Seal. Nine-
teenth century.
1006. Unmounted drawing, on paper, painted in colours. Size,
283 x 203.
Tiger.
Conventional and calligraphic in treatment.
Artist unknown. Seal (Kiv-cuiv). Sixteenth century.
1007. Unmounted drawing, on silk, painted in colours. Size,
40} x 155.
The perils of human existence. (See No. 675.)
The subject is a variation of that treated in No. 675. The
horrors of the suspended wretch are added to by the approach of
serpents and wasps to hasten his fall into the jaws of the dragons
below. The tiger is replaced by a white elephant.
Artist unknown. Nineteenth century.
1008. Unmounted drawing, on paper, painted in colours. Size,
51 x 22}.
Kwanyin seated upon a rock by the sea-shore.
Artist unknown. No signature. Seal (So-zen). Nine-
teenth century.
1009. Unmounted drawing, on silk, painted in colours. Size,
22 x 17%.
Birds and flowers.
Painted by Un-xin. Signed. Seal. Nineteenth century.
1010. Unmounted drawing, on silk, painted in colours. Size,
452% x 17.
Kingfisher and peonies.
The absence of the usual mounting paper allows the display of
a peculiarity in the technique of Japanese paintings. The principal
256 JAPANESE PICTORIAL ART.

ground colours of the picture have been applied upon the reverse of
the sheet of silk, and the tints, softened by the semi-transparent
medium through which they are seen, are then finished by light
touches upon the front surface of the fabric.
Painted by Tan-sar Hut-xar. Signed. Two seals. Nine-
teenth century.
1011. Unmounted drawing, on silk, painted in colours. Size,
393 x 141.
Si Wang Mu and attendants. (See No. 705.)
The drawing has been made upon silk from which another picture
had been previously obliterated.
Painted by Fust SHEUN-GAKU， Signed. Two seals. Early
part of nineteenth century.
1012. Unmounted drawing, on silk, painted in colours. Size,
342 x 128.
Chang Liang and the Yellow Stone Elder (Jap. CHORIO
and 及 OSEKIKO).
Painted by SEN-SAI， Signed. Bedi Nineteenth century.
Chang Liang, one of the Three Heroes of Chinese history, was a powerful
supporter of Liu-Pang, the founder of the Han dynasty. It is told that, once,
in early life he met an old man whose sandal had fallen from his foot, and
with the reverence due to age, he picked it up and knelt down to readjust
it. The old man in return bestowed upon him a roll, saying, “‘ He who
studies this book shall become a king’s preceptor,” and added that after
thirteen years Chang Liang should meet him once more in the shape of a
yellow stone at Kuh Ch’éng. From this mysterious roll the hero is sup-
posed to have drawn the wisdom which rendered his counsels so valuable to
the cause of Liu-Pang. He abandoned public life after his patron’s accession
to supreme power, declining all the rewards and honours that the grateful
sovereign would have heaped upon him, and died in retirement 189 B.o.
This precious volume is said to have passed into Japan and to have been
studied by Yoshitsuné and some other great warriors of the Land of the
Rising Sun. (See Mayers’ ‘Chinese Reader’s Manual,’ Part I., No. 26.)
The artist, in accordance with one of the many versions of the story, com-
monly represents the genius riding across a bridge, and Chang Liang,
mounted upon a dragon in the river below, holds up the fallen shoe.
See No. 1040.
It is said that the hero learned his most valuable lesson, that of patience,
from an old woman whom he found grinding down an iron bar to make a
needle.

1013. Unmounted drawing, on silk, painted in colours. Size,

342 x 12}.
Han Sin creeping between the legs of the Coolie. (See
No. 753.)
Painted by Sun-sar. Signed. Seal. Nineteenth century.
a

CHINESE SCHOOL. sak

1014. Unmounted drawing, on silk, painted in colours. Size,

45 x 152.
Emblems of longevity—Crane, waves, sun, and peach.
(See No. 690.)
Painted by BAITEI， Signed. Seal. Nineteenth century.
1015. Unmounted drawing, on silk, painted in colours. Size,
433 x 163.
Rishi.
A Chinese sage playing upon a flute, and floating on the waves
in a fragment of a hollow tree.
Painted by Curxv-o-sat. Signed. Two seals. Nine-
teenth century.
1016 and 1017. A pair of unmounted drawings, on silk, painted
in monochrome. Size, 38} x 147.
(1.) Hare running upon the waves.
(2.) Monkey pointing towards the moon.
Painted by Hi-xer-mer. Signed. Seal. Eighteenth
century.
The Hare, in Japanese pictures, is nearly always represented in association
with a full moon. This connexion of ideas, illustrated also in the name
Sason (the leaping one), which denotes the moon in Sanskrit inscriptions, is
of very ancient date, and is supposed to have been suggested by a fancied
resemblance between the form of the animal and the outline of certain
marks visible upon the disc of our satellite. In Taoist legends the hare
is also placed in the moon, and is represented as engaged in pounding
with pestle and mortar the drugs that compose the elixir of life.
Many curious superstitions, some of Indian origin, attach to the hare in
Sinico-Japanese folk-lore. Like the fox, the tortoise, the crane and the
tiger, it is supposed to attain a fabulous longevity—one thousand years—
and to become white at the end of one-half of its term; but it is neither
credited with supernatural powers, like the fox and tiger, nor consecrated
as an emblem of long life, like the tortoise and crane. One of the tribe,
however, the red hare, is grouped with the Féng Hwang and the K’i Lin as
an omen of a beneficial reign.
If the moon be clear on the eighteenth night of the eighth month, the
animal is then supposed to conceive by running upon the surface of the
waves; but should the sky be veiled with clouds impregnation does not
occur, and there is a consequent dearth of leverets in the following season
(E-hon koji-dan). An old belief, originating, according to Mayers, with
Chang Hwa (232-300 4.D.), maintains that the necessary influence is
induced by merely gazing at the moon, while a still earlier theory,
eliminating the satellite altogether, teaches that the female becomes enceinte
by licking the fur of the male, and in conformity with this view, the
young were supposed to be produced from the mouth.
The plant considered appropriate to the hare, is the scouring-rush,
which is hence usually introduced into drawings of the hare and moon.
8
258 JAPANESE PICTORIAL ART.

In the well-known Japanese story of the hare and the racoon-dog (see
Mitford’s ‘Tales of Old Japan’), the inoffensive animal shows some of the
wit of “ Brer Rabbit,” in getting the better of his carnivorous foe. And
in a legend related in the Kojiki, the hare is made to adopt a cunning
expedient in order to reach the mainland from the Island of Oki. The
animal, under the pretext of a desire to compare the number of his tribe
with that of the crocodiles, induced the simple-minded reptiles to
lie in a row. from the shore of the island to Cape Kéta, and then
made a bridge of their backs; but the last crocodile, perceiving the trick
that had been played upon his companions, laid hold of the deceiver and
stripped him of his skin. (See Mr. B. H. Chamberlain’s translation of the
Kojiki.) The legend of the Pious Hare is well known.

1018. Unmounted drawing, on silk, painted in colours. Size,

162 x 34}.
Japanese landscape.
Painted by Sar-sexi. Signed. Seal. Nineteenth century.

1019. Unmounted drawing, on silk, painted in colours. . Size,

14 x 373.
Japanese landscape.
Painted by Gurran. Signed. Seal. Eighteenth century.

1020. Unmounted drawing, on silk, painted in colours. Size,

383 x 14}.
Egrets and Iris.
Painted by UN-P0 at the age of eighty-one. Signed.
Seal. Nineteenth century.

1021. Unmounted drawing, on silk, painted in colours. Size,

39 x 14.
Si Wang Mu and attendant descending upon a cloud.
(See No. 705.)
Painted by Ha-ra-mrrsv. Signed. Seal. Nineteenth
century.

1022. Unmounted drawing, on silk, painted in colours. Size,

403 x 14}.
Si Wang Mu and aitendants.
One of the attendants of the fairy carries a basket of the sacred
peaches, the other holds a large fan-screen decorated with a re-
presentation of the sun, clouds, and sea.
Artist unknown. No signature or seal. Nineteenth
century.
 CHINESE SCHOOL. 259

1023. Unmounted drawing, on silk, painted in colours. Size,

50 x 221.
Pheasants and plum blossoms.
Painted by Kan-nin. Signed 及 AN-RIN T6-ren. Two seals.
Nineteenth century.

1024. Unmounted drawing, on silk, painted in colours. Size,

40 x 13.
Flowers.

Artist unknown. No signature or seal. Nineteenth

century.

1025. Unmounted drawing, on silk, painted in colours. Size,

333 x 12h.
Peonies.
Painted by Kid-kwa. Signed. Seal. Nineteenth cen-
tury. :

1026. Unmounted drawing, on silk, painted in colours. Size,

38 x 123.
Teal.
Painted by Un-xin. Signed. Seal. 1875.

1027. Unmounted drawing, on silk, painted in colours. Size,

421 x 221.
Macaws.
Painted by O-GATA ATI-YEN。 Signed. Seal. Nineteenth
century. .

1028 and 1029. A pair of unmounted drawings, on silk, painted

in colours. Size, 37? x 123.
Eagles.
Painted by Un-xin. Signed. Seal. 1875.

1030. Unmounted drawing, on silk, painted in colours. Size,

374 x 132.
Squirrels and peach-tree.
Artist unknown. No signature or seal. Nineteenth
century.
8 2
260 JAPANESE PICTORIAL ART.

1031. Unmounted drawing, on silk, painted in colours. Size,

421 x 171.
Fowls and wild rose.

Painted by UN-TAN。 Signed. Seal. Dated in the cyclical

year of Hi-no-yé inu (1826).
1032. Unmounted drawing, on silk, painted in colours. °Size,
51} x 22.
Si Wang Mu and attendants. (See No. 705.)
Painted by Tacurtpana So-stixi1. Signed. Seal. Nine-
teenth century.
10338. Unmounted drawing, on silk, painted in colours. Size,
434 x 14}.
Birds and pomegranate.
Painted by Ka-xo. Signed. ‘Two seals. Nineteenth
century.
1034. Unmounted drawing, on silk, painted in colours. Size,
362 x 153. :
Japanese monkeys.
Painted by Kwa-sutn-sat. Signed. Seal. Eighteenth
century.

1035. Unmounted drawings, on silk, painted in colours. Size,

474 x 108.
Birds and flowers.
Painted by BAI-KEI， Signed. Seal. Nineteenth century.
1036. Unmounted drawing, on silk, painted in colours. Size,
113 x 27.
Landscape.
The mouth of a river, with a view of Mount Fuji in the distance.

Painted by Harvu-xr Nam-mer. Signed. Seal. Nine-

teenth century.

1037. Unmounted drawing, on silk, painted in colours. Size,

212 x 34.
Fowls and convolvulus.
Painted by Sa-vaKé Yer-Kar. Signed Ho-aen Yet-Kat.
Seal. Nineteenth century.
 CHINESE SCHOOL. - 261

1038. Unmounted drawing, on silk, painted in colours. Size,

; 21} x 34}.
Egrets.
Painted by OHIKU-o-SAI Signed. Two seals. Nine-
teenth century.
1039. Unmounted drawing, on paper, painted in colours. Size,
43 x 18.
The Seven Gods of Good Fortune.
The divinities are descending upon a cloud of serpentine form.
Artist unknown. No signature or seal. Eighteenth cen-
tury.
1040 and 1041. A pair of unmounted drawings, on silk, painted in
colours. Size, 353 x 144}.
(1.) Chang Liang and the Yellow Stone Elder. (See
No, 1012.)
(2.) Kao Tsu attacking the dragon. (See No. 1297.)
Painted by Sud-x10. Signed. Seal. Nineteenth century.
1042 to 1088. A set of forty-seven drawings, on paper, painted in
monochrome. Size, 11 x 143.
Bamboos.
Painted by various artists. Signed. Seals. Nineteenth
century.

1089 to 1126. <A set of thirty-eight unmounted drawings, on

paper, painted in colours Size, 125 x 9}.
Birds and flowers. Unfinished sketches.
Artist unknown. Dated third year of Meireki (1657).
1127. Unmounted drawing, on silk, painted in colours. Size,
621 x 36.
Pheasants, peacocks, and other birds.
Artist unknown. No signature or seal. Nineteenth
century.
1128 to 1133. A set of six unmounted drawings, on paper, painted
in colours. Size, 18% x 44.
The tiger hunt.
1. The departure of the hunting party.
2. The sea voyage (to Formosa or Korea). The crest upon the
sails shows that the adventurers belong to the Satsuma clan.
262 - JAPANESE PICTORIAL ART.

3. Planning the expedition on arrival. The two leaders of the

party, sheltered from a heavy rain by large umbrellas, are giving
directions to their retainers. Mountainous scenery in the back-
ground.
4, An engagement with a tiger. One of the hunters, joining
issue with a great tiger, has thrust his long Satsuma blade with
such force into the open jaws of the beast that the point emerges at
the nape of its neck. Others of the band appear upon the brow of
a precipice in the background, and a stampede of wild boars, foxes,
and other animals is seen in the valley below.
5. A second tiger fight. Another tiger has proved more form-
idable, in seizing his assailant by the leg. The unlucky man tries
to make use of his sword, while a comrade comes to his assistance,
and buries his blade in the body of the animal.
6. The trophies of the chase. The successful sportsmen are
carrying home the two huge carcasses, slung by the feet to long
poles.
Painted by 及 0-KIL Signed DAI-YEI Hogen Ko-x1. Dated
second year of Ansei (1855).
1134. Album of twenty-three drawings, on silk, painted in colours.
Size, 93 x 7h.
Birds, flowers, &c.
Painted by Curn-zan. Signed. Seal. Dated in the Ox
year of Tempo (1841). .
1135 and 1136. A pair of kakémonos, on paper, painted in colours.
Size, 192 x 123,
Chinese landscapes—Lake scenery.
Painted by Nara Hoaun (Kan-rer). Seal. Fifteenth
century.
 ( 263)

SESSHIU SCHOOL.
a ne

Tue School of Szssnrd was one of the branches of the revived

Chinese School of the fifteenth century, but its founder, unlike
his famous contemporaries, Kano MASANOBU and Sxur0sun, had the
advantage of studying the parent art in its native place.
Sxssu10, a scion of the noble family of Ota, was born at Akabama,
in the province of Bichiu, in 1421. At the age of twelve or thirteen
he was placed under the instruction of a priest in the temple of Hofu-
kuji, where he was led by his artistic predilections to neglect the pre-
scribed course of religious training. It is said that on one occasion
he was tied to a pillar of the temple in punishment for his idleness,
‘and when the priest came to set him free he was startled to see a
number of rats at the feet of his prisoner. The good man ran to
drive away the intruders, and found that they were pictures that
the little artist, using his toe for a pencil and his tears for ink, had
drawn upon the floor. Some versions of the story tell that the
pictorial creations were so life-like that they actually scampered
away when the priest drew near.
From this time his talent was recognised, and he was permitted
to follow the bent of his genius during the completion of his priestly
course. Some years later he became a pupil of Josrrsu, in Sdkokuji,
and under his teaching acquired the manner which brings even his
latest works into close association with those of Surdpun and certain
other artists of the same period. In the period Kwansho (1460—
1466), after he had passed*the meridian of life, he determined to
make a voyage to China to see there the works of the old masters,
and study the scenery that had given inspiration to their brushes.
On his arrival he sought for a teacher amongst the noted artists
of the time, but the men whose works were laid before him fell short
of his ideal, and he resolved “to seek instruction from the moun-
264 JAPANESE PICTORIAL ART.

tains, rivers, and trees of the country.” He painted many pictures

during his stay, including some reminiscences of Japan, and at
length his fame spread until it reached the Emperor. It is
regarded as one of the most signal honours ever paid to Japanese
art that Srssuiv received a command to paint a picture upon the
wall of the Imperial palace.
After his return to Japan he lived in the temple of Unkokuji
(whence the name of Unxoxv adopted by himself and many of his
pupils and followers), and founded a new school from which issued
many celebrated painters. He continued his work until an advanced
age, and so unimpaired were his powers that some of his most valued
pictures were drawn after he had numbered fourscore years. It will
be seen that the Dragon head in No. 1202 of the Collection, painted
at the age of eighty-one, shows little signs of an enfeebled hand.
He died in 1507, at the age of eighty-six.
According to the Honché gwashi, “his skill was the gift of nature;
for he did not follow in the footsteps of the ancients, but developed
a style peculiar to himself. His power was greatest in landscape,
after which he excelled most in figures, then in flowers and birds;
and he was also skilful in the delineation of oxen, horses, dragons,
and tigers. In drawing figures and animals he completed his sketch
with a single stroke of the brush, and of this style of working he is
considered the originator. He preferred to paint in monochrome, and
rarely made use of colours... .. When he was about to commence a
picture he was wont to play an air upon the flute, or to sing a verse
of poetry, and then would attack his task with vigour, like a dragon
refreshed by its native element.” *
It is difficult for a European to estimate Szssuiv at his true value.
His style was in its essential features the same as that of SHIDBUN :
and notwithstanding the boast of the artist that the scenery of
China was his only teacher, and the credit bestowed upon him by his
admirers of having invented a new style, he has in no respect de-
parted from the artificial rules accepted by his fellow painters. He
was, however, an original and powerful artist, and his renderings of
Chinese scenery bear evidences of local study that we look for in
vain in the works of his successors. The grand simplicity of his
* “Rio ga midzu wo yéru gotoku,” a proverbial expression equivalent to our
simile of “a giant refreshed with wine.” The literal meaning is “ Like a dragon that
has met with water.”
 SESSHIU SCHOOL. 265

landscape compositions, their extraordinary breadth of design, the

illusive suggestions of atmosphere and distance, and the all-pervad-
ing sense of poetry, demonstrate a genius that could rise above
all defects of theory in the principles of his art. It is in land-
scape that his pre-eminence is most incontestable; in other motives,
although he could not fail to be remarkable, he has many equals
and a few superiors.
His materials were few. He usually painted upon Chinese
paper with a moderately large brush, and his drawings were
either in monochrome or strongly outlined in ink, with a few
light washes of local colour. His touch was wonderfully firm,
expressive, and facile, and possessed a calligraphic beauty that
none but a Chinese or Japanese can thoroughly appreciate. His
observation of nature was evident, especially in his landscape
sketches, but he sought to produce reminiscences, or general
impressions, rather than direct transcripts of the reality.
Like most Japanese artists, he was known by a variety of names,
of which Fuso-su6, T6-y6, Breut-san, UN-Koxu or UN-KOKU-KEN, and
Bri-cEen SAN-SHIU were the chief.
His two greatest pupils were Sur0-cursv, of Satsuma, and Szsson
of Hitachi; but many other familiar names in art belong to the roll
of his academy. The following list, compiled chiefly from the
Honché gwashi, embraces the principal artists of the school down
to the middle of the seventeenth century :一

Sui0-cutsu ; named also Té-xan. A retainer of the Daimio of

Satsuma. He studied under Srssuiv, and was his companion
in China. Like nearly the whole of the pupils of the school,
he was a priest in the Buddhist Church. His landscapes are
less masterly than those of his teacher, but he was little, if
at all, inferior in other motives. See Nos. 1207 to 1209.
Susson; named also Suivu-x1, or Kaxu-sen O-n0. A famous
painter of landscape, in the style of Sussuiv. According to
some authorities he died in 1495, but it is more probable
that he flourished in the middle of the 16th century.
Soven; named also J6-sur. A priest of the Zen sect who studied
under Sxssurv, and became celebrated for landscapes. ‘“ His
pictures brought a thousand miles into the space of a square
foot.”
266 JAPANESE PICTORIAL ART.

Ker-sH0x1; named also 到 ETI-SHO or Hry-raxvu-sar. A priest of

Tofukuji and a pupil of Sussurv. He flourished at the end
of the 15th century. Noted for landscape.
SEO-KEI or Yut-rusat. A pupil of 了 ET-SHOKI.
Suru-K0. <A pupil of Ker-sudxr. His works bore a close
resemblance to those of SazsSHIU whom he had accompanied to
China. He was most skilful in landscape, but is especially
noted for pictures of Shoki (Chung Kwei). See No. 687.
Torsu-an. A painter in the style of 了 ETISHOKI， who flourished
in the early part of the sixteenth century.
Un-pd. A follower of Szssuru, contemporary with the last.
SHo-yo. A pupil of Sussuzv.
To-zen; named also Hé-sursv. A pupil of Szssuru, but some-
times painted in the style of the Chinese artists of the Sung
and Yiien dynasties.
To-stkx1. <A retainer of the Daimio of Satsuma. It is not
certain whether he studied directly under Sussiv. _
Jo-x1. Noted for drawings of Shoki, Shinno (Shun), and the
poet Hitomaru. It is supposed that he was a Chinese who
accompanied Srssuiu on his return to Japan.
UN-EKET; named also Sut-zan. His pictures all bear the date
of the period Tembun (1532-1555).
了
DO-AN or YAMA-DA Dd-an; named also Mr-BU， Flourished
about the middle of the sixteenth century. His style bore
considerable resemblance to that of Kano Moronozu. Died
1573.
SHiv-toxv ; named also I-xo. A follower of Sussurv, noted for
monochrome landscapes in the style of the master. He lived
about the middle of the sixteenth century.
Setter. Noted for monochrome drawings of bamboos and
sparrows.
To-part. Noted for drawings of Shoki, in a style like that
of Suru-K0,
T6-x6. A follower of SasSHIU and SHIUBUN.
SHIU-Y6. Noted for monochrome pictures of Shoki.
Y6-ru. Noted for sketches of Daruma. (Dharma.)
Bar-Ken. Noted for drawings of Sakyamuni.
To-pen; named also Sxr-n10. Noted for landscapes in mono-
chrome.
 SESSHIU SCHOOL. 267

Szr-mo. Noted for monochrome sketches of plum-blossoms.

Nao-romo. A member of the Minamoto family. Noted for
landscape.
TO-KU. Noted for monochrome drawings of Kwanyin.
Y6-xr1. Noted for monochrome drawings of Daruma.
To-sar. Noted as a painter, but his style was coarse and did
not resemble that of Sxssu1v.
Sar-uaxu. Noted for paintings of oxen.
Ki-yer. Noted for pictures of Mandjus’ri, and for humorous
sketches. |
To-yo. <A priest of the temple Anydji, in Sakai (Idzumi pro-
vince). Noted for pictures of Shéki. He must be distinguished
from T6-y6, a follower of SHrupun. See Chinese School.
Ko-rosat. Noted for monochrome painting of hawks.
To-yetsu. Noted for drawings of Daikoku.
Sd-naxv. Noted for pictures of small birds.
Ket-r1n. Noted for monochrome pictures of Mandjus’ri.
So-sar. Noted for lightly-coloured landscapes.
Soxu-pat. Noted for monochrome sketches of Daruma and
other subjects.
Getsu-yu. Noted for pictures of the S’akyamuni trinity.
Ju-xen. Noted for pictures of the Sakyamuni trinity.
Sertd. Noted for monochrome sketches of flowers and birds.
Rid-rvu. Noted for monochrome sketches of wild geese, and
for drawings of S’akyamuni.
S6-36 Yu-sen. A priest of the Shingon sect. Noted for mono-
chrome drawings in the style of Szssuiv.
Saxu-sen. Noted for monochrome sketches of flowers and birds.
T6-sarsu ; named also Ha-cursvu. Born 1515.
Td-Boxu. Noted for monochrome drawings of Atchala.
Ho-suru. Noted for pictures of Jurdjin. His seal bears the
name of T6-GEN.
Ko-crtsv. His seal bears the name of SHIU-RIN.
Rid-Kat. Painted in the style of Sxsson.
SuKE-CHIKA. Noted for landscapes in the style of Susson.
TO-BEI Sui-autsu. Painted in the style of SHIU-GETSU.
EE
EE
————
Té-aan. Originally a pupil of the Kano school, but afterwards
adopted the style of Sussurv. Flourished about 1580.
了 5-YEKI Son of 工 5-GAN.
268 JAPANESE PICTORIAL ART.

To-waxu (Ha-si-aawa). A celebrated painter of the latter

half of the sixteenth century, who styled himself the fifth
descendant of Szssaivu. He was noted for large pictures in
a style intermediate between that of the Sessuru and Kano
schools, and although he is known to have intrigued with the
great Sage of the Cha-no-yu, Sen no Rikiu, to depreciate the
Kanos in the opinion of Hidéyoshi, he is sometimes regarded
as belonging to the latter academy.
Kivu-z6, or Soya. Son of To-naxv.
T6-rixt, or To-RIN.。 Pupil of TO-HAKU.
T-s10 (Ha-si-aawa). Probably a descendant of TO-HAKU.
CHO-SEN; named also Er-xar. Flourished in the period Genwa
(1615-1624.)

Many other artists are referred to in the Honché-gwashi as

followers of Szssur1u, but without particulars of interest. These are
T6-cer, Sersu-rin, Td-an, Sussuin, Sexxo, Boxu-raxv, T6-sersu,
SHID-GEN，SHIU-KEI To-na, Ri-yu, and Iyi-tsuav.. Their period is
not stated ; but they probably flourished in the sixteenth century.
 CT 209.)

SESSHIU SCHOOL.
一 一 一人 一 一 一

1201 to 1203. A set of three kakémonos, on paper, painted in

monochrome. Size, 45} x 204.
Tiger (left), Dragon (right), and Jurojin (centre).
The head of the dragon is a masterly example of rapid forcible
sketching. The head, neck, and claws alone are exposed, emerging
from the dark background of cloud.
The tiger is vigorously drawn, but conventional.
Juréjin, accompanied by his stag, is treated in the usual manner.
Painted by SzssH10 “at the age of eighty-two.” The right
and left pictures are marked by seals. The central picture
bears both seal and signature. ‘The set is accompanied
by two certificates of authenticity, signed by Rokufuji
Yozan and Kano Tsunénobu. Beginning of sixteenth
century (1502).
1204. Kakémono, on silk, painted in colours. Size 15} x 872.
From the Franks collection.
Hotei and children.
Sketched in strong black outline, and lightly washed with colour.
Painted by Sxssuit “at the age of eighty-three.” Signed.
Seal. Beginning of sixteenth century (1503).
1205. Kakémono, on paper, painted in colour. Size 133 x 15}.
Chinese landscape.
Ink sketch, lightly tinted with colour.
Painted by Sessuit. Seal. Fifteenth century.
1206. Kakémono, on silk, painted in monochrome. Size 39% x 163.
S’akyamuni.
The figure is a repetition of that known as “Shussan no Shaka,”
and represents S’akyamuni returning from his voluntary penance in
the mountains.
270 JAPANESE PICTORIAL ART.

Painted by Szssnit. Signed SHI-MEI Ten-pd DAI-IOHI-ZA

Sessuit. “Drawn by Sessurt, the head of the priests of
Thien T’sung in the mountain of Sze Ming.” Fifteenth
century.
1207. Kakémono, on silk, painted in colours. Size, 443 x 238.
Portrait of Vimalakirtti (Jap. Yurma-xos1).
An old man dressed as a priest, with striking features and of
dignified aspect. He is seated upon a mat, and holds a futsujin
or clerical brush. Around the head is a colourless nimbus, the
mark of the Arhat.
The drawing shows the touch of a master-hand, and displays a
naturalistic truth that is seldom found in Japanese portraiture. It
is painted upon Chinese silk, which is ads damaged by age
and exposure.
Attributed to Surt-aursu. No signature. Seal partly
obliterated. Fifteenth or sixteenth century.
Vimalakirtti was a famous Indian priest, a native of VAis’Ali, said to
have been a contemporary of S’akyamuni, and to have visited China
(Hitel). He is mentioned in the Butsu 26 dzu-t, vol. iii.

1208. Kakémono, on silk, painted in colours. Size, 45} x 22.

Chinese Sage.
Painted by Suit-cersv. Signed. Seal. Fifteenth or
sixteenth century.
1209. Kakémono, on paper, painted in monochrome. Size 223 x 14.
Buddhist divinity. (Manpsvus’ri ?)
An effeminate figure holding a sacred roll.
Painted by Surt-cersv. Seal. Fifteenth or sixteenth
century.

1210. Kakémono, on paper, painted in colours. Size, 233 x 183.

Chinese lady.
Painted by Sussd, “the eighth descendant of SagsHri,
Signed. Seal. Highteenth century.
1211. Kakémono, on paper, painted in monochrome. Size,
383 x 132.
Wild goose.
Rapidly sketched.
Painted by Sussd. Seal. Sixteenth century ?
 SESSHIU SCHOOL. 271

1212 and 1213. Pair of kakémonos, on silk, painted in monochrome.

Size, 282 x 123.
Tiger and Dragon.
Painted by Tsutsumi To-s1. Signed. Seal. Sixteenth
century (?).
1214 to 1216. A set of three kakémonos, on silk, painted in colours.
Size, 373 x 162.
(1) and (2). Chinese landscapes.
(3). Han Shan and Shih-te (Jap. Kanzan and JITOKU).
See No. 606.
Painted by To-nan. Signed “ Un-xoxu Ho-cEn T6-nan, the
sixth descendant of Sussni0.” The prefix Unkoku, referring
to the temple of Unkokuji, was adopted by many of the
followers of Szssnit. Seventeenth century.
1217 and 1218. A pair of kakémonos, on silk, painted in colours.
Size, 40} x 13}.
Chinese landscapes.
Painted by ‘To-xer Signed, UN-KOKU T6-xer. Seal.
Eighteenth century.

| 1219. Kakémono, on paper, painted in monochrome. Size, 43 x 21.

) Chung Kwei pursuing the demon. (See No. 687.)
| Artist unknown. No seal or signature. Poetical inscrip-
| tion. Sixteenth century.
1220 and 1221. Pair of kakémonos, on paper, painted in colours.
Size, 893 x 193.
Chinese landscapes.
Sketched in ink and lightly tinted with colour.
Artist unknown. Two seals. Sixteenth century.
1222. Kakémono, on silk, painted in colours. Size, 463 x 174.
Jurojin. (See p. 44.)
Painted by TAN-I BUN-oHO after a picture by Sxssuit.
See also No. 1223. Signed Bun-coo. Seal. End of
eighteenth century.
1223. Kakémono, on silk, painted in colours. Size 48 x 233.
Jurojin.
Very similar to the preceding.
An old man with long white beard and transparent horse-hair
272 JAPANESE PICTORIAL ART.

hat. He is accompanied by a white deer, and surrounded with

branches of the pine, bamboo, and plum trees,—emblems of
longevity. The moon placed behind his head has the appearance
of a nimbus.
Painted by Ka-no YEI-TOKU RIU-SHIN after a picture by
Sussoi0. Signed. Seal. Nineteenth century.
1224. Kakémono, on silk, painted in monochrome. Size, 143 x 221.
Chinese landscape. Lake and mountain scenery.
Painted by Ha-si-aawa Srxx6 Noxv-vu1, “the fourteenth
descendant of Sxssurv.” Signed. Seal. Early part of
nineteenth century.
1225. Kakémono, on paper, painted in monochrome. Size 95 x 552.
Fukurokujiu. (See p. 30.)
Painted with a very large brush. Copied from the picture
of Szssuit by I-sen IN H6-1n YEI-SHIN (Ka-no NAGA-NOBU)，
and re-copied by Sz1-sen YO-SHIN (Ka-no Osa-nosu). Signed.
Seal. Nineteenth century.
Presented to the Collection by C. H. Read, Esq.

1226. Makimono, on silk, painted in colours. Size, 152 x 648,

Chinese landscape.
Sketched in ink, and lightly tinted with colours.
Painted by Ka-no YO-SHIN (Osa-nozv) at the age of fifteen,
after a picture by Sxssnit. Signed Gioxu-sen 了YO-SHIN。
Seal. Dated in the period of Bunkwa (1804-18). —
1227. Makimono, on paper, painted in colours. Size, 152 x 414,
Designs for the arrangement of flowers in vases.
In Japan the art of arrangement of flowers is a feminine
accomplishment, holding a place with music and painting, and
having its special professors and literature. It is of some interest
to note that, four centuries ago, the greatest artist of his age did
not consider it derogatory to furnish designs for the guidance of
fair amateurs in the practice of this offshoot of decorative art.
In the system of arrangement, it will be seen that branches of
trees, natural or trained into capricious shapes, flowerless or with
flower in bud or blossom, held an all-important place in the grouping,
and that the receptacles made to hold them offered a remarkable
variety of form. The whole art, with its numerous appliances, is of
Chinese origin.
Painted by To-sen, after Sussuit. Signed Mon-sin Tosen.
Seal. Dated eighth year of Horeki (1758).
 SESSHIU SCHOOL. pres

1228. Unmounted drawing, originally a screen decoration on

paper, painted in colours. Size, 602 x 1261.
Chinese landscape. AUTUMN SCENE.
Near the centre of the picture, in the mid-distance, is a lofty
eminence crowned with gaily-painted mansions, and fronted by a
rugged foreground covered with aged trees; on the left a mountain
stream winds around the base of a gigantic cliff, whose summit is
already clothed with the snows of winter; a broad expanse of water
stretches far to the right, and beyond its distant mist-hidden shore,
the bluish summits of remote silicic peaks rise up in sharp relief
against the sky. Two fishing-boats, one reposing upon the smooth
bosom of the lake, the other moored by a quaintly formed bridge
that spans the river, help to lend a human interest to the scene.
The picture belongs to the class termed Usu-zaishiki (thinly
coloured). The outlines have been firmly but rapidly sketched in
ink with a coarse brush, the warm brown and yellow tints of the
dying foliage are in contrast with the bluish-green of the unchang-
ing pines and the pale umber of the foreground rocks, and a thin
grey wash serves to express the murky tone of the autumnal sky.
The composition, viewed as a whole, is evidently the work of a
mind capable of grasping the spirit of nature in its broader aspects,
but caring little for the study of naturalistic detail; while the swift
masterly touches that map out the component parts of the scene
and the harmony of the sparing tints that serve to differentiate the
local characters of the foreground, indicate the work of a hand and
eye that had learned all the lessons that Chinese art could teach.
Painted by Sussait. Signed Br-yo Sussuit (Sesshiai of
Bitchiu). Seal. Fifteenth century.

1229. Unmounted drawing, on paper, painted in colours. Size,

41 x 183.
Chinese Landscape.
The picture apparently represents the outskirts of a great city.
The principal features of the scene are distinguished by descriptive
writing.
Copied from a picture by Sussuit. The original signature
reads, Sut-mer Trn-p0 Dat-icut-za SESSHID (as in No. 1206).
The copy is dated 1819.
274 JAPANESE PICTORIAL ART.

KANO SCHOOL.
——

Tu Kano school, one of the three branches of the fifteenth century

revival of Chinese teaching, had for its first master a scion of the
Fujiwara clan named Ka-no MASA-NOBU, who was born at Odawara, in
the province of Sagami, about 1424 (Manpo zensho). Masanosu
is said to have studied painting under Suisun and OGURI Soran
(see Chinese School), and, according to a doubtful tradition, was at
first a pupil of Josersu. He seems, however, to have exercised his
skill merely as an amateur until Szssurt, after his return from China
(1469), chanced to see one of his pictures, and took an opportunity
of bringing his talent under the notice of the Shogun Yoshimasa.
About this time it happened that Oaurr Soran died, leaving un-
finished a decorative painting in the temple of Kinkakuji, in Kioto,
and by the recommendation of Sussui1t, Masanospu was employed to
complete the work, a task he effected with such success that his
reputation became firmly established.
He died about 1520 at the advanced age of 96, leaving two sons,
O1-no-suK& (afterwards called Moro-nosv) and Ura-no-suxi (after-
wards YUKI-NOBU).
He was known in his youth by the name of Sux-xryo,* and after
his professed retirement from the world, as Yt-sut, and received the
titles of 卫CHIZEN No Kami and Hocen.
His style in the delineation of landscape, birds, and flowers, was
very similar to that of Oauri Soran, and his figures are said to have ©
been modelled upon those of the Sung artist Lina Cut. But although
he was an accomplished painter, his originality and genius failed to
gain the universal recognition achieved by his eldest son Moronosv,
to whom the academy which bears his name really owed its per-
manent existence.
* The Manpo zensho gives also the names of SHIRO-JIRO and Or-no-suKk, which
according to the Honché Gwashi belong to Moronosv.
 KANO SCHOOL. 275

Ka-no Moro-nosu, the actual head of the school, was born in

1477. There is little known as to his early life and education, but
it is said that many years of his youth were spent in Bohemian
rambles through the country, with empty purse and encumbered only
by a change of clothing and the necessary implements of his craft;
stopping to sketch whatever pleased his eye ; and paying his way with
the produce of his brush. For a long time he worked in poverty,
and almost in obscurity, but his genius at length asserted itself, and
honours began to fall upon him. In the period Eisho (1504 to 1521)
he sent a number of his works to China, and one of the most cele-
brated painters of that country was so strongly impressed by their
power that he wrote a letter to the artist, comparing them to the
drawings of OHAO OHANG and Ma Ytern, and expressing a wish to
become his pupil. The famous metal worker Go-16 Yt-s6, the Ben-
venuto Cellini of the age, contracted an intimate friendship with the
painter, whose designs he adopted in the engraving of sword orna-
ments. His painted fans were chosen as ceremonial gifts to the
Emperor and Shigun. Lastly, the head of the ancient and aristocratic
Tosas, Mrrsusniaé, thought him worthy of the hand of his daughter,
herself an artist of no small talent; and Moronosu passed the
remainder of a long life in the midst of all the happiness that
sympathetic companionship and widespread fame could bestow.
His character appears to have been unambitious, yet proud and
self-reliant. The Honché gwashi, to illustrate his indifference to
patronage, relates how Ota Nobunaga, one of the greatest personages
in the history of the sixteenth century, attracted by Moronosu’s
dawning fame, condescended to go to his house, and walking with
his friends in lordly fashion, unannounced, into the studio, met with
a silent reproof at the hands of the artist, who pursued his occupa-
tion without paying the slightest attention to the presence of his
haughty visitor. The story, however, is hardly probable, as N obunaga
was himself almost unknown at the period referred to.
He died at the age of 82 in 1559.
The name by which he is most commonly known was that belong-
ing to the most active period of his life. In his youth he was called
Or-no-sukh and Surro-stro (see Honché gwashi), and after his “ re-
tirement” he took the name of YEI-SEN。 He is frequently referred to
as Ko-HdaEn, or the Ancient Hocxn, to distinguish him from the
many painters of after times who received the title.
T 2
276 JAPANESE PICTORIAL ART.

His most characteristic paintings, like those of Sussmit, derived

little aid from mechanical finish or complexity of materials, but were
for the most part sketches either in monochrome or lightly tinted
with colour, and were dashed in with extraordinary facility, and
with a calligraphic force that has never been surpassed. All his
works display evidence of the Chinese origin of his teaching, trans-
mitted probably through his father from Oaurr Soran and SurvBun.
His landscapes, chiefly imaginary transcripts of Chinese scenery, are
perhaps his most remarkable performances, and, despite the artifi-
ciality of their elements and their scientific defects, display so much
individuality and picturesque beauty, enhanced by so perfect a com-
mand of the brush, that it is not difficult to understand the charm
which they have exercised for centuries upon the painter’s country-
men. The same spark of genius illuminates his other pictures,
whether of bird or flower, sage or rishi; and all, though often
hackneyed in motive and fashioned in accordance with the artificial
rules of the Chinese masters, bear the stamp of a master hand.
According to his biographers, he took for his models in landscape
the works of Ma Ytrn, HIA Kwet, Mug Kz, Yuu Kray, SHUN xi, and
Tsz Cxao; in birds and flowers he followed Cuao Cuane, Ma Yurn,
and Spun Ki; his colouring was in the style of Ma Ytuy, HIA Kwet,
Liana Cut, and NGAN Hwut; and he occasionally painted in the
Japanese manner after Nosuzané and Tosa Mrrsunosv. The
Japanese compare him to the great Chinese calligraphist of the
fourth century, Wane Hi-Cuz, who although not decidedly superior
to certain of his rivals in any one style of writing, was pre-eminent
by virtue of the uniformly high level of excellence he attained in
all sections of the art.
He left three sons, and his manner of painting was preserved with
more or less modification by his younger brother Ura-no-sux#, and
by his earlier descendants and the adopted pupils of his line. The
renown of the school lost nothing under his son SHO-YEI and his
grandson YEI-TOKU, or under its collateral adherents SAN-RAKU and
GSan-sersu. Tan-yu, the fourth in descent from Moronosu, was
one of the most vigorous and original painters of the Academy,
and ranks next to the master in the estimation of the Japanese ;
his brothers NAo-NOBU and YASU-NOBU were worthy associates; and,
lastly, Té-un and TSUNE-NOBU took a high position amongst the
leading artists of the seventeenth century.
 KANO SCHOOL. ik

The works of the academy exhibit two distinct manners with

many intermediate gradations; the one characterized by rapidity
of execution and simplicity of material, the other by decorative effect,
in which full play was given for complexity of design and splen-
dour of colouring.( The first style,in which Szssuit had excelled,
was practised by all the Kano artists, but reached its highest per-
fection and greatest extravagance in the drawings of TANyu) The
most “impressionistic” of these sketches were landscapes, many of
which offer an extraordinary combination of artistic treatment with
a dexterity that approached dangerously near to pictorial jugglery.
(The style is well illustrated in Nos. 1283 and 1286 of the collectionD
Such works were most frequently in monochrome, but occasionally
the effect was heightened by a few light washes of colour.
The second or decorative manner was distinguished in most cases
by a more careful outline, usually with a finer brush, and by a free,
often lavish use of gold and colour. It was comparatively little
favoured by the artists of the first three generations, but began to
appear in some force in the mural embellishments of the great
castles carried out in the time of Hidé-yoshi by his protégés, Yrrroxu
and Sanraku, and became more and more pronounced from the be-
ginning of the eighteenth century, till at length all the brilliancy
and elaboration of the Tosa ,and Buddhist paintings reappeared in
the works of the schogl(whose acknowledged masterpieces were found
amongst the unobtrusive monochromes and lightly tinted sketches
of 玉 oHOGEN and Tanyu,) The sharp decisive touch of the early
masters,. with its arbitrary variations in breadth of stroke, is, how-
ever, apparent in nearly all the works of the Academy, and enables
the connoisseur to distinguish specimens in which the other charac-
teristics have been entirely lost.
The motives favoured by the Kano artists were mostly classical—
Chinese sages, Chinese landscapes, Buddhist divinities in the style
of the old Chinese masters, and reproductions of the animals and
flowers that had. appeared in the works of the Yien and early
Ming periods—all delineated and coloured with Chinese convention-
ality; but Japanese subjects were by no means excluded, and occa-
sionally the territories of other schools were trespassed upon by
illustrations of ancient semi-historical stories in the Yamato-Tosa
style, as in Nos. 282-3; humorous sketches. and scenes of town life
in the manner of the Ukiyo draughtsmen as in Nos. 1434-6 ; and in
278 JAPANESE PICTORIAL ART.

rarer instances Temple pictures upon the model of the Butsu-yé

asin No. 85. In conclusion, it may be noted that several painters
who had been educated in the school subsequently released them-
selves from their academical traditions. Amongst these may be
named Hana-pusa IrcHd, Tacut-pana MoRI-KUNI and NISHI-GAWA
SUKE-NoBU, who became shining lights in the early popular school ;
YoSHI-MURA Suri-zan, the Netsuké carver ; Tort-yama SEKI-YEN and
YEI-SHI two well-known designers for colour prints; TAN-GEN and
Mort-KaG#, whose decorative paintings upon the older Kutani and
Satsuma pottery are eagerly sought by the collector; and Ta-n1
Bun-cu6, who became the founder of a branch of the Chinese school
at the end of the last century.
The list of the alumni is very long, but the names inserted are all
sufficiently well known to warrant their introduction.

To end of sixteenth century.

Masa-nosu. (See Nos. 1251 and 227.)
Moro-nosu. (See Nos. 1252 ef seq.)
Yuxr-Nosu, named also Ura-no-suzi. The younger brother of
Moro-nosv, of whose works he was a close imitator. Died
1575, aged 62. (See No. 1266.)
Mouni-svxé. Pupil of Masa-nosu.
Cuixu-poxv. Pupil of MASA-NOBU.
SHEo-Yar named also Nao-nosu and Minsu-suoyv. The third son
of Moro-nosu. Died, aged 73, in 1592. His eldest brother
Yt-sersu died in 1562, aged 48. He and the three before+
named painters are sometimes spoken of as belonging to the
Jésetsu school. (See Nos. 1269-70.)
Suy&-yor1, named also JIBU-NO-SHOYU and Jo-suin. Second son
of Moro-NoBU。 He died before his father.
Y6-sersu. Son-in-law of Moro-nosv.
SO-OHIN.。 Nephew of Moro-NOBU.
GIOKU-RAEU。 Nephew of Moro-nosv. His pictures bear no seal,
and are often mistaken for those of Ko-HdcEn.
Naaa-mitsv—Kimura family—afterwards named Zen-riyo. A
pupil of Moro-nosu. Was noted for pictures of flowers and
birds, and for ‘life-like portraits.’
Gun-ya. A pupil of Moro-nosu. Was noted for large pictures,
which resembled those of Yut-roxv. Other less known pupils
 KANO SCHOOL. 279

of Moto-nosv are as follows :—I-sr1, Ji-Boxv, Kin-r1v, Masa-

SUKE, GO-BokuU, Moro-Tapa, Suiah-nopu, Sapa-NoBu, Mirsv-
maSA, Tat-sHun, and Iyi-rsuav.
SHIN-sHO, named also HIDE-NOBU。 Son of Suyi-yorr. Like his
father, he was chiefly known as a painter of fan pictures.
Rid-36, named also Hipi-masa. Son of SETIN-SHO，
Haya-to, named also GEN-sutn, son of R10-36.
Yer-roxu, named also SuHiak-Nopu and Gen-suiro. Eldest son
of SaHo-YEr and a pupil of his grandfather, Moro-nosv. He
was engaged by Hidéyoshi to decorate the walls of his
castles, and became especially noted for large mural designs.
Died 1592, at the age of 47. (See No. 1271.)
MUNE-HIDE, named also SO-SHID. Second son of SHO-YEI Painted
in the style of his brother YEI-TOKTU.
So-Ha, third son of SHO-YEI.
Kiu-HAKvU, named also NAGA-NOBU。 Fourth son of SHO-YEIL
Mirsu-Nopu or Uxtyo, second son of YEI-TOKU. A clever
painter, but: inferior to his father. Died in 1608, at the age
of 43.
工 AKA-NOBU or Uxon, son of YEI-TOKU. Inferior to his father
and brother. Died 1618, at the age of 47.
Yo-sHd, named also SrHO-YEKI and Kat-Hoxv. A pupil of
Yer-toxv. It is said that he presented a picture of a dragon
to the King of Korea, who sent an autograph letter of
thanks in acknowledgment. Died 1615, aged 82. (See No.
1271a.) :
Kin-roxvu, named also Gzn-suxé. A pupil of YEI-TOKU.
SAN-RAKU (Kimura), named also Mirsu-yorrt. In his youth he
was a page in the service of Hidéyoshi; but his master,
having observed him absorbed in sketching a horse in the
sand instead of attending to his duty, placed him under
the tuition of Yzr-roxu, whose son-in-law he afterwards
became. He was associated with his father-in-law in the
mural decorations in the castles of Hidéyoshi’s favourites,
and may be regarded as one of the greatest colourists and
most original designers of his school. He died in 1635, at
the age of 76. (See Nos. 1272-8 and 1428.)
S6-yu, named also HIDE-ITYE and HIDE-NOBU。 A son-in-law and
pupil of Yerroxv. Died 1617, aged 63.
280 JAPANESE PICTORIAL ART.

SO-SEN or Tané-nosu, a pupil of SHO-YEI

S0-cur, son of S0-Ha.
Ikxrr, named also NAI-ZEN and Sutet-yosa1. Pupil of SHEO-YEr.
Tani-naca (Takumi) or So-SHIN。 Pupil of Sxd-ver.
GEN-HA， Pupil of SHO-YEI
Kru-Haku, named also Saytmon SHO-SHIN， Son of Kro-HAKU
入 AGA-NOBU，
Kiu-yven, brother of the last named; also named Sr-SHIN or
Kryo-Nnosu.

Seventeenth Century :—
SADA-NOBU, son of Mrrsu-nosv. Died at the age of 27.
Ko-1 (Yama-moro). A pupil of Mrrsv-nosv, and famous as the
teacher of the three brothers Mort-nosv, Nao-nozu, and
YASU-NOBU. He died in 1636, leaving two sons, named
及 0-Ho and RIO-SHI.
Yt-yvéx1, son of 80-oHIT，named also Ust-nosv.
SHUN-sETSU, named also Suiaii-Nopu. Son of YU-YxEgT
SHO-Kwa-Dd, named also Taxi-moro-Bo and Sa0-70. Pupil of
San-raku. A noted calligraphist and painter of Kioto. He
is best known for original and grotesque sketches called
Kio-ye (Kioto pictures), which bear some resemblance to the
manner of Ko-riv. ‘The style was maintained by his pupils
Taxi-moro-so J6-sun and Dod-zan H6-z6-Bo. Died 1639, at
the age of 57.
San-setsv, named also Da-soxu-xen. Son or son-in-law of
SAN-RAKU; and one of the best artists of his period. Died
in 1654, at the age of 62. (See Nos. 1274-5.)
SHIrD-RT named also Mrrsu-nort. Son of San-Raxv.
S0-sen, named also Nopu-masa and Gi-xz. Son of Sd-yv. Diced
1658, aged 61.
Yo-sersu. Son of Kat-noxu Yé-sud. Died 1677, aged 83.
TAN-YU or TAN-YU-SAI named also Mori-nosv. Eldest son of
Taxa-nosu. The most celebrated artist of his school after
Moro-nosu. It is said that he first followed the style of
Sussui0, and of the Chinese artists of the Sung and Yiien
periods, but he subsequently invented a manner of his own.
Hepainted the portrait of the retired Emperor, and replaced
Kanaoxa’s pictures of the Chinese sages in the Imperial
 KANO SCHOOL. 281

palace at Kioto. He received the titles of Hogen, and after--

wards H6-in, and was appointed Edokoro Adzukari. He was
one of the most prolific and original painters of his time,
and carried the impressionistic style to its highest ex-
treme. He died in 1674, at the age of 72. (See Nos. 1276
et seq.)
Nao-nosu, named also SHU-MEI and JI-TEKI-SAI. Brother of
Tan-yu, whose manner he imitated. Died in 1650, at the
age of 47, See Nos. 1267-8.
YASU-NOBU， named also Boxu-surn-sar, and the “Ancient
Yei-shin.” Youngest brother of Tan-yu. Died 1685, aged 72.
He left many pupils, whose names are as follows :—No-muRA
Sd-rarsu, Sd-sen, Sud-un, YEI-UN, J0-SHIU，RIU-SEN，YEI-JUN，
San-seK1, YEI-W5, YEI-s0, SHICHI-ZAYEMON, YEI-KIU, and CHO-KO
(afterwards known as Hana-susa IrcHd). S0-rarsu, a very
original artist and accomplished colourist, is also claimed as
a pupil of the Tosa school. He died in 1685, at the age of
62. (See Nos. 1294-5.)
TAN-GEN, commonly known as “the Satsuma Tan-yu.” A
pupil of Tan-yvu, who originated the pictorial decoration of
the early Satsuma pottery.
Tan-R10 (Marsv-sara). Pupil of Tan-yv.
Tsuni-Nospu, named also Yo-soxu, Ko-sumn and 及 0O-UN-SAI.
Son of Nao-nosv. Died in 1713, at the age of 77. (See
Nos. 1304 ef seq.) }
Tan-suin, named also Mort-masa. Son of Tan-yvu. Died 1718,
aged 65. (See Nos. 1315-7.) .
TAN-SETSU, named also Mort-sapa. Son of Tan-yv. Died 1714,
aged 59. (See Nos. 1320-2.)
“Tan-zan. (Tsurv-zawa.) A pupil of Tan-yv. He left a son
named Tan-si, and two pupils named 了及o-SHIBA Mori-Nnao or
Tan-sHun-sar, and TAOHI-BANA MORI-KUNI. (See Popular
school.)
Mori-Kaeé, (Kusumt), named also Han-pex. A pupil of TAN-YU，
who became celebrated as a painter of Kaga pottery.
SussHin (Kryo-wara). A niece of Tan-yu, and wife of MoRI-KAGE.
YxI-no, named also SAN-SEI and Nui-no-sux&. Said to be a son
or grandson of San-sersu. The author of the Honché gwa-
shi (1698), a celebrated biographical list of painters, which
282 JAPANESE PICTORIAL ART.

has been extensively quoted in the present work. He was

followed by YE-RID and Yi-r16.
Td-un, named also MASU-NOBU or YEKI-SHIN。 Son-in-law of
Tan-yu. Died 1694, at the age of 70 (Gonse). (See Nos.
1297 ef seq.)
Td-sHun, named also 了 ugU-SHIN， 开 ANE-NOBU and RIO-SHIN.
Son of To-un. (See No. 1368.)
Tan-aiu, named also Mori-micur. Son of San-sursv.
Soxv-yo, named also TANN-NOBU. Son of Yu-yixr. A retainer
of the Daimio of Kaga. He left a son named SHU-SEN or —
FUNA-GAWA. .
SHUN-SETSU, named also SHIGE-NOBU， Son of YU-YEEKI.
Haxv-vyen, named also Ker-sury. Son of YU-YEKI，
DAI-KAKU, named also Ust-Nosu.
Toxr-Nosv, named also Grn-sutrd. Son of YASU-NOBU- Died
1678, aged 36. (See Nos. 237 and 1570.)
Sexxo (Hasi-aawa). Painted in the style of TAN-YU.
了 Er-HO (Taxa-ra). An original and talented artist. Many
of his drawings are engraved in the Kethd gwa-fu. He
died in 1755, at the age of 81. (See Nos. 1301 to 1303.)
SHUN-sETSU, named also Nopu-yuxi. Son of Haya-ro.
YEI-HAKU。 (See No. 1399.)
了 AI-YET named also Cut-surn, or Tomo-nopu. Son of Haya-to.
SHUN-SHO, named also Rid-sury. Son of Haya-ro.
了 AI-SHUN, named also Kiu-sary. Son of Bat-yvet.
SHUN-SUT named also MEI-SHIN。 Son of SHUN-SHO.
‘ SHUN-SETSU, named also SHIGE-NOBU. Son of YU-YEET.
了 TU-YEN.
Kiv-ton, named also RI-SHIN.。 Son of KRIU-HAKU.
Kru-sEx1, named also YU-SHIN, or Tomo-nosu. Son of Kru-Haxv.
Kru-zan, named also Kort-nopv. Son of 了 TU-YEN.
Gioxu-yen. Son of Kru-sixt.
JIU-SHIN, named also Kin-ra-nd. Son of Kru-zan. A pupil of
TAN-ZAN.

Eighteenth Century :一
Rrrsu-w5 (O-cawa). Originally a pupil of the school, but sub-
sequently became famous as a sculptor, peramist, and lacquer
painter. He died in 1747, at the age of 84.
 KANO SCHOOL. 283

Suun-soxu (O-dKA). Died in the period Horeki (1751 to 1764),

at the age of 87. (See Popular school.)
Suun-siu. Son-in-law of SHUN-BOKU. Died in the period
Anyei (1772 to 1781), at the age of 54.
Tan-sen, named also AFKI-NOBU (d. 1756). Son of 工 AN-SHIN.
Died 1728, at the age of 42, leaving two sons named Tan-yEN
and Tan-go.
CHIKA-NOBU， named also J6-sen and Ko-suty, and in his later
years Yut-sen. Son of Tsuni-nosv. Died. 1728, aged 69.
(See Nos. 1819 and 1372.)
Minii-nopu, named also Ho-sury. Son of Tsuni-nosv. Died
1708 (Gonse). (See Nos. 335-40.)
TENn-sHIN, named also YEI-SEN and Haxv-cioxu, youngest son
of Tsuni-nosu. (See No. 1445.)
Zui-sEN, son of MINE-NOBU.
Tomo-nopu. Son of OHIKA-NOBU.
Hisa-nopu, named also Yet-sen. Son of CHIKA-NOBU. (See
Nos. 1326-30.)
Micut-nosvu, named also YEI-SEN-IN-HO-IN. Son of Hisa-Nosv.
(See No. 1823.) One of the best of the later artists of his
school.
Suit-spin. Son of Tox1-nosv.
Suyi-nopu. Son of SHID-SHIN.
I-suin. Son of Suyi-nosv.
Suxi-xryo. Son of SUYE-NOBU.
S6-sEn, named also Szr-surn, or NARI-NOBU. Son of Haxu-vEn.
(See No. 1401.)
Haxv-sel, named also In-sumy, or Yort-Nosu. Son of S0-sEN.
Td-suun, or YoSHI-NOBU。 Son or pupil of TO-SHUN Kani-nopv.
Died 1798.
Yet-sut. A pupil of Micut-nosu, but afterwards attached to the
Ukiyo-yé school. (See No. 1403.)
JO-sEN or TsUNE-KAWA, son of ZUI-SEN.

Nineteenth Century :一
KoRE-NOBU, named algo Gun-sui-sar and YO-SEN-IN-HO-IN. Son
of Micut-nosu. Died 1808, at the age of 55. (See Nos.
1329-33.)
284 JAPANESH PICTORIAL ART.

Naca-nosu, named also I-sen IN Ho-1n. Son of Micui-nosv.

Died 1828, aged 53. (See Nos. 1336 et seq.)
OSA-NOBU, named also Kwai-sHrn-sar and SFEI-SEN Hogen. Son
of Naga-nosu. (See Nos. 1345 et seq.)
工 AN-SHIN-SAI Mort-micut. (See Nos. 1437 ef seq.)
了 AN-YEN-SAI Mort-zané. Son of Mori-micurt. (See Nos. 1552
et seq.)
工 AN-GEN-SAI Mort-tsunté. (See Nos. 1643 ef seg.)
Kapzu-nosu. Famous for his portraits of the Sixteen Arhats
exhibited at Shiba in Tokio. (See Nos. 1376 ef seq.)
Masa-nosu, named also ASHO-SEN-IN-HOIN.。 Son of Osa-nosvu.
Still living. (See Nos. 1532 ef seq.)
RIO-SHO, named also Hipi-masa.

The names of many other artists of the present century will be

found in the following list of paintings.
 ( 285)

KANO SCHOOL.
一
-一人一- 一

1251. Kakémono, on paper, painted in colours. Size, 248 x 133.

Chinese landscape.
Painted by Ka-no MASA-NOBU or Yu-szt. Seal obliterated.
Fifteenth century.
1252. Kakémono, on paper, painted in monochrome. Size,
261 x 123.
Chung-li K’tian (Jap. SHORIKEN), or Katsu-gen (Kon Yury).
A bearded man, in loose attire, borne upon the waves by a sword.
Painted by Ka-no Moro-nosv. Seal. Early part of
sixteenth century.
Chung-li K’iian, described by Mayers as the first and greatest in the
category of the Hight Immortals, is said to have flourished during the Chow
dynasty. A long narration of his miraculous birth and supernatural gifts
and achievements is contained in the Ressen zen den, but the ingenuity of
the story is less remarkable than its extravagance, and scarcely greater
than its veracity.
His attribute is a sword, by means of which he is said to have been able
to travel upon the water. He must not be mistaken for Li Tung-pin, his
pupil, who is also distinguished by a sword. A figure with like charac-
teristics also appears under the name of Koh Yiien (Jap. Katsu-gen).
The picture has been engraved in the Wa-kan mei-qwa yen.

1253 and 1254. Pair of kakémonos, on paper, painted in mono-

chrome. Size, 86 x 125.
Wild Geese.
Rapid style.
Painted by Ka-no Moro-nosu. Seal. Early part of
sixteenth century.

1255. Kakémono, on paper, painted in monochrome. Size,

202 x 83.
Péh I and Shuh Ts’i (Jap. Haxiz and SHIKUSEID)-
Two scholars conversing in a mountain retreat.
286 JAPANESE PICTORIAL ART.

The picture is in the shape of a fan, and was probably painted as

a decoration for a screen or slide, or as a fan mount.

Painted by Ka-no Moro-NOBU. Seal. 了 arly part of

sixteenth century.
Pah I and Shuh Ts’i, two brothers who lived in the twelfth century B.c.,
are renowned as examples of fraternal affection and purity of mind.
Their father wished to confer the succession upon Shuh T’s’i, the younger,
but he declined to accept his brother’s birthright, and proved his sincerity
by disappearing from the scene. Péh I, in turn, rejected the inheritance,
under the plea that he might not act in disobedience to his father’s wishes,
and to avoid dissension he also withdrew, leaving the succession to a third
brother. He joined Shuh 'T's’i in a life of seclusion, and the two passed the
rest of their days in the uninterrupted enjoyment of fraternal and intellec-
tual communion.

1256 to 1258. Set of three kakémonos, on paper, painted in

colours. Size, 50} x 213.
(1) and (2). Sparrows and peonies.
(3). Crane (Grus viridirostris).
Painted by Ka-no Moro-nopv. Seal. Early part of
sixteenth century.

1259. Kakémono, on silk, painted in colours. Size, 13? x 92.

Hawk and sparrow.
Painted in the style of the Yamato school.
The details are executed with a delicacy of finish rarely dis-
played in the works of this artist, who moreover seldom worked
upon silk. The value placed upon it by its original possessors is
manifested in the extraordinary series of envelopes by which it is
guarded.
Painted by Ka-no MoTro-NOBU. Seal. Certificates. Early
part of sixteenth century.

1260. Kakémono, on paper, painted in monochrome. From the

Franks collection. Size 214 x 333.
“The Three Laughers.”
Painted by Ka-no Moro-nosv. Seal. Early
了 part of
sixteenth century.
The story illustrated is that of a Chinese sage who had retired from
active life, vowing never to move beyond the confines of his insular retreat.
On one occasion, however, he received a visit from two old comrades, and
after having made merry with them, was unconsciously beguiled while
dazed with argument and repeated cups of wine, to cross the bridge that
linked him to the outer world. The moment chosen by the artist is
 KANO SCHOOL, 287

that in which the two guests, having achieved their object, are laughing
at their forsworn friend, and he, taken by surprise, cannot help joining in
their glee.

1261. Kakémono, on paper, painted in monochrome. Size

24 x 113.
Chinese Juggler with Monkey.
Painted by Ka-no Moro-nozsv. Seal. Early part of
sixteenth century.

1262. Kakémono, on paper, painted in colours. Size, 49% x 21.

Two Chinese Sages.
Their dresses and the branches of the trees are violently agitated
by a strong wind.
Painted by Ka-no Moro-nosu. Seal. Early part of
sixteenth century.
This is a copy of the Chinese painting No. 71, or of some work that
preceded both. The story illustrated by the sketch has not been traced.

1263 to 1265. Set of three kakémonos, on paper, painted in

monochrome. Size, 30} x 138}.
(1) and (2). Chinese landscapes. Summer and Winter.
(3). Hotei. See p. 37.
Rapid style.
Painted by Ka-no Moro-nozv (?). Seal. Sixteenth century.
1266. Kakémono, on paper, painted in colours. Size, 15 x 23%.
Bird and flowers.
Drawn in the style of Moronosu.
Painted by Ka-no Ura-no-suxt&. No seal. Certificate of
authenticity. Early part of sixteenth century.

1267. Kakémono, on paper, painted in monochrome. Size,

353 x 124.
Bird and pine-tree.
Rapid style.
Painted by Ka-no Nao-nosu, Seal. Seventeenth century.

1268. Kakémono, on silk, painted in monochrome. Size, 8} x 123.

Sparrow.
Painted by Ka-no Nao-nosu. Signed. Seal. Seven-
teenth century.
288 JAPANESE PICTORIAL ART.

1269. Kakémono, on paper, painted in monochrome. Size, 123

x 202.
Birds and bamboos.
Painted by Ka-no Sué-yer. Seal. Sixteenth century.

1270. Kakémono, on paper, painted in colours. Size, 42 x 188.

Mandarin ducks.
Painted by Ka-no Suo-yur Signed. Seal. Sixteenth
century.

1271. Kakémono, on paper, painted in colours. Size, 85 x 162.

Mao Nii (Jap. Mos0 Senna).
A youthful female figure, clad in skins and leaves; she carries a
fruit and blossom-bearing branch of the peach-tree of longevity,
and a basket containing a roll, a pine-branch, and loquats. The
style of painting bears great resemblance to that of Moronosv.
A similar picture by a Chinese artist, named OHING Son-rao,
is engraved in the Wa-kan shiu-gwa yen.

Painted by Ka-no Yer-roxu. Seal. Sixteenth century.

Mao Nii is described in the Ressen zen den, as a female of wild aspect,
covered with long hair, who was often met in the mountains by travellers
and hunters. To those who questioned her, she related that she had been
a maid of honour in the palace of the Emperor, and that after the fall of
the T’sin dynasty (206 B.c.) she fled to the solitude of the mountains,
where, by living upon pine-leaves, she at length lost the sense of hunger,
and became so light that she was able to soar in space unimpeded by
earthly grossness.

127la. Kakémono, on paper, painted in monochrome. Size, 44}

x 184.
Chinese Sage.
An aged man standing upon the borders of a stream watching
the movements of a crab.

Painted by 玉 AI-HOKU Yd-sud. Two seals. Sixteenth

century.

1272. Kakémono, on paper, painted in monochrome. Size, 16

x 332.
Landscape. Hight celebrated prospects. Moonlight.
Painted by Ka-no SAN-RAKU. Signed SAN-RAKU. Seal.
End of sixteenth century.
 KANO SCHOOL. — 289

1273. Kakémono, on paper, painted in monochrome. Size, 113

x 8.
The Three-clawed Dragon.
Copied from a painting by CHO Densu, probably the gigantic
ceiling decoration of the temple of Téfukuji in Kioto.
Painted by Ka-no San-raxv. Signed. Sixteenth century.
1274. Kakémono, on paper, painted in monochrome. Size, 364
x 153.
Landscape. Rain scene,
This is an anticipation of the impressionist school, a few almost
shapeless strokes of the brush being made to suggest with remark-
able force the drenching downpour of a tropical shower.
Painted by Ka-no SAN-SETSU。 Signed SAN-SETSU。 Seal.
Early part of seventeenth century.
1275. Kakémono, on paper, painted in colours. Size, 38} x 142.
Quails and millet. —
Painted by Ka-no San-sersu. Seal. Early part of seven-
teenth century.
1276 and 1277. A pair of kakémonos, on paper, painted in
colours, Size, 464 x 183.
(1.) Shen Nung. (See No. 614.)
An aged man with massively moulded features, large prominent
eyes, and two rudimentary horns upon the brow. He is clad in
skins, leaves, and feathers, and is writing. upon a tablet that bears
the mystic diagrams revealed to Fuh-hi upon the back of the
dragon-horse.
(2.) Yii the Great. (See No. 215.)
A personage in the ancient dress of the Chinese Emperors. The
robe is ornamented with emblematic designs of the sun, moon,
stars, pheasants, dragons, and mountains.
Painted by Ka-no Tan-yu. Signed Ho-1n Tan-yv, aged
seventy. Seal (Kunarkryo no In). Seventeenth century
(1671).
1278. Kakémono, on silk, painted in colours. Size, 15} x 34}.
Chinese landscape. ‘
Rapidly sketched in ink, and lightly washed with colour.
Painted by Ka-no TAN-YU (?). Signed Tan-yu-sar. Seal.
(MoRI-NOBU.) Seventeenth century (?).
U

ere
290 JAPANESE PICTORIAL ART.

1279 and 1280. A pair of kakémonos, on silk, painted in colours.

Size, 48} x 202.
Falcons.
Executed with more attention to detail than is seen in most of
the pictures of this artist. ;
Painted by Ka-no Tan-yu. Signed TAN-YU Hoé-cen. Seal
(Mori-nNosv). Seventeenth century.

1281 and 1282. Pair of kakémonos, on silk, painted in mono-

chrome. Size, 55 x 21.
Dragon and Tiger.
The head of the dragon emerging from the storm-cloud affords
an admirable example of the combined skill and force of the
artist.
The tiger is conventional in treatment.
Painted by Ka-no TAN-YU. Signed TAN-YU-SAI。 Seal
(HO-GEN TAN-YU). Seventeenth century.

1283. Kakémono, on silk, painted in monochrome. Size, 102 x 24.

Landscape.
Mountain and lake scenery. ‘“ Impressionist” style.
Painted by Ka-no Tan-xyv. Two seals. Seventeenth
century.

1284. Kakémono, on silk, painted in monochrome. Size, 388} x 14}.

Chinese landscape.
Rapidly sketched.
Painted by Ka-no TAN-YU。 Signed Tan-yv. Seal.
Seventeenth century.

1285. Kakémono, on silk, painted in monochrome. Size, 263 x 13}.

Samantabhadra seated upon an elephant.
Painted by Ka-no Tan-xv. Seal. Seventeenth century.

1286. Kakémono, on silk, painted in monochrome. Size, 18 x 303.

Landscape.
Rocks, mist, and water, suggested by a few lines and seemingly
haphazard dashes of ink.
Painted by Ka-no Tan-yv. Signed TAN-YU H6-cen. Seal
(Hé-cen TAN-YU)， Seventeenth century.
 KANO SCHOOL. 291

1287. Kakémono, on silk, painted in colours. Size, 79 x 373.

Kwanyin.
The form known as “Sei-dzu Kwannon.” <A female figure in
simple white dress, seated upon a rock. By her side is a small vase
holding a branch of bamboo. A waterfall in the background is
visible through the translucent nimbus.
Strongly outlined in ink, and lightly tinted with colour.
Painted by Ka-no TAN-YU at the age of sixty-three.
Signed Ho-ry Tan-yv. Seal. Seventeenth century (1664).

1288. Kakémono, on silk, painted in monochrome. Size, 35 x 14}.

Chung Kwei. (See No. 687.)
The demon-queller is clenching his fist, and stamping his foot
with rage while looking up after the evasive demons.
Painted by Ka-no Tan-yv. Signed TAN-YU Ho6-1n, aged
sixty-five. Seal (Sur-mer). Seventeenth century (1666).

1289. Kakémono, on silk, painted in colours. Size, 38} x 193.

Chinese landscape.
Strongly outlined in ink, with light colour washes.
Painted by Ka-no Tan-yv. Signed HO-N TAN-YU, aged
sixty-seven. Seal. Seventeenth century (1668).

1290. Kakémono, on silk, painted in colours. Size, 16 x 293.

Jurojin, with crane and white stag.
This picture illustrates the community of emblems between
Juréjin and Fukurokujin. (See p. 44.)
Painted by Ka-no Tan-yv. Signed Ho-1y TAN-YU, aged
sixty-nine. Seal (SETr-MEI)， Seventeenth century (1670).

1291. Kakémono, on silk, painted in colours. Size, 50} x 311,

Kwanyin the Unsurpassable (Anoxu Kwannon).
The goddess clothed in a white dress with flowing folds, is seated
upon a rock by the sea-shore. At her feet stands a Chinese boy in
an attitude of prayer, and above, in the clouds, is seen a martial
figure, probably Ida T'en, holding a sword enveloped in a cloth
wrapper.
Painted by Ka-no Tan-yu. Signed HO-IN TAN-YU, aged
sixty-seven. Seal. Seventeenth century (1668).
v 2
292 JAPANESE PICTORIAL ART.

1292. Kakémono, on silk, painted in monochrome. Size, 60 x 26}.

Crow and pine-tree.
Painted by Ka-no TAN-YU (? forgery). Signed H6-cEn
TAN-YU。 Seal. Seventeenth century.
1293. Kakémono, on silk, painted inmonochrome. Size, 367 x 131,
Doves and pine-tree.
Painted by Ka-no Tan-yv. Signed . Tan-yv-sar. Seal.
Seventeenth century.
The Pigeon is regarded by the Chinese as a symbol of longevity, from
the custom which prevailed under the Han dynasty “of bestowing upon
persons above the age of eighty a jade-stone staff, upon which the figure
of a bird was engraved, the pigeon being believed to have peculiar powers
of digesting its food, and a wish for similar strength on the recipient’s part
being thus symbolized.” See Mayers’ ‘Chinese Reader’s Manual,’ p. 1,
No. 272, and ‘ Chinese Notions about Pigeons and Doves,’ by T. Watters,
‘Trans. Shanghai Branch of the Royal Asiatic Society, 1867.’

1294. Kakémono, on silk, painted in monochrome. : Size, 393 x 18.

Botankwa Shohaku.
A priest riding upon an ox.
Painted by Ka-no Yasu-nosu. Signed Ho-aun Yur-surn.
Seal. Seventeenth century.
Botankwa ‘was a priest of royal descent, whose real name was Shohaku,
but who assumed the name of Botankwa, or “ Peony Flower,” from
caprice. He was a great student and lover of poetry, and was fond of
travellingin search of scenery (“climbing mountains”), He settled in early
life in the town of Sakai, and it is said that he was in the habit of riding
upon a bull with gilded horns, reading his books, regardless of the laughter
of those whom he met. In his old age he removed to Ikéda. in the
province of Settsu, and there with his “Three Affections,” the wine-cup,
incense-burning, and flowers, he passed his days until the civil “wars
caused him to remove to Idzumi, where he died in 1527 at the age of
eighty-four.
He is usually represented riding upon an ox whose horns are decorated
with peonies. (See usd Jnitsu Den and San-zai dzu-yé.)

1295. Kakémono, on silk, painted in colours. Size, 12} x 21.

Landscape.
Dashed in with rapid strokes of the brush. When looked at
closely, the sketch has the aspect of a chaos of blotches, but seen
from a distance, the apparently unmeaning splashes of ink assume
form with wonderful suggestiveness as a mountain scene half
concealed by mists.
Painted by Ka-no YASU-NOBU， Signed Ho-cun Yur-suin.
Seal. Seventeenth century.
 KANO SCHOOL. 293

1296. Kakémono, on silk, painted in colours. Size, 443 x 16}.

White Phenix. (See No. 867.)
Painted by Ka-no HIDE-NOBU (or Yer-suin). Signed H6-
GEN Hipii-nosu. Seal. Eighteenth century.
1297. Kakémono, on paper, painted in colours. Size, 123 x 112.
Kao Tsu of the Han dynasty (Jap. Kan no Koso).
A Chinese warrior in complete armour, with dragon-crested
helmet, holding in one hand a sword, in the other a feather-fan.
Painted by Ka-no To-un, or Yuxi-suin. Seal. Signed
Yuxt-suin. Seventeenth century.
Liu Pang, or Kao Tsu, was the founder of the Han dynasty (s.c. 206).
Originally a_peasant, he rose into faine as a warrior during the insurrection
raised by Hiang Liang against the successor of She Hwang Ti in B.c. 209,
and aided by the counsel of his astute adherents Ch’en Ping and Chang
Liang and the strong arms of Fan Kw’ai and Han-sin, he speedily attained
a position of supreme power. Finally, after defeating Hiang Tsi, the
nephew of Hiang Liang, he received, in 206 B.c., the insignia of Empire.
He was at first noted for his clemency and moderation, but in his old
age fell into vicious self-indulgence, and ungratefully ordered the execu-
tion of his faithful retainer Fan Kw’ai, who some time befure had dared
to upbraid him for his dissolute life. He died 195 8.c., leaving the throne
to his cruel wife, the Empress Li.
The meeting with the dragon depicted in the drawing No. 1041 is
one of the fabulous incidents of his early career.

1298 and 1299. A pair of kakémonos, on silk, painted in mono-

chrome. Size, 39 x 14}.
Han Shan and Shih-te. (See No. 606.)
Two figures, one holding a scroll, the other a rice-straw besom.
They have the attire and bearing of boys, but their eyes are
furrowed by the wrinkles of age.
Painted by Ka-no To-un. Signed Yuxr-sniv. Seal.
Seventeenth century.
1300. Kakémono, on silk, painted in colours. Size, 313 x 12}.
Two Chinese Sages in conversation over a scroll.
Painted by Ka-no TO-UN， Signed To-un. Seal (NTT
waRA). Seventeenth century.
1301 to 1303. A set of three kakémonos, on paper, painted in
monochrome. Size, 37 x 133. ‘
(1.) Gama Sennin. (See No. 703.)
The rishi appears here to have caught his frog by means of a
fishing-rod.
294 JAPANESE PICTORIAL ART.

(2.) Li T’ieh Kwai liberating his spiritual Essence.

(See No. 1348.)
(3.) Kin Kao riding through the air upon a carp.
(See No. 794.)
Painted by Ka-no Kur-40. Two seals. End of seven-
teenth century.
1304. Kakémono, on silk, painted in calours. Size, 343 x 15}.
Kwanyin the Unsurpassable.
Compare with the figure by TAN-YU, No. 1291.
Painted by Ka-no Tsuni-nopu. Signed. Seal. End of
seventeenth century.
1305. Kakémono, on silk, painted in colours. Size, 19 x 344.
Su-she and his friends at Ch’ih Pi. (See No. 824.)
Lake scene. Three Chinese sages in a boat drifting over the
moonlit surface of a lake.
Painted by Ka-no Tsunii-nopv. Signed Tsunii-nosu
Seal. End of seventeenth century.
1306 to 1308. A set of three kakémonos, on silk, painted in
monochrome. Size, 374 x 14.
(1) and (2). Chinese landscapes. Summer and winter
scenes.
(3). Fukurokujiu. (See p. 30.)
Painted by Ka-no Tsuni-nosv. Signed Tsuni-nosv.
Seal. Seventeenth century.
1309 to 1311. Set of three kakémonos, on paper, painted in
monochrome. Size, 48 x 203.
(1). Landscape.
(2) and (3). Wild Geese.
Painted in the most rapid manner of the school, and resembling
in style the pictures of Moronosu, Nos. 1253 and 1254.
Painted by Ka-no Tsunii-nopu. Seal. Seventeenth
century.
1312. Kakémono, on silk, painted in colours. Size, 88 x 151.
Cranes. .
Ink sketch, lightly tinted with colour.
Painted by Ka-no Tsuni-nopv. Signed Tsunti-nozv.
Seal. Seventeenth century.
 KANO SCHOOL. 295

1313. Kakémono, on silk, painted in colours. Size, 342 x 153.

Chow Mao-shuh (Jap. SHUMOSHIKU)，the Philosopher
Chow. }
A sage seated on the border of a lake gazing at the lotus-flowers.
Calligraphic style; lightly tinted with colour.
Painted by Ka-no Tsuni-nosv. Signed Tsuni-nosv.
Seal. End of seventeenth century.
Chow Mao-shuh, or Chow Tun-i, was a famous scholar of the eleventh
century (A.D. 1017-1073), who, after holding various high positions in the
state, retired from the world, abandoning himself to philosophic con-
templation and to rapt admiration of the flowers of the lotus (Z-hon Ridzai,
vol. iii.). According to Mayers, he is considered second only to Chu Hi
(4.D. 1180 to 1200) in matters of philosophy and research.

1314. Kakémono, on paper, painted in monochrome. Size,49 x 17}.

Saigi5 Hoshi. (See No. 204.)
An old priest in travelling dress, with a large hat and long
staff.
Painted by Ka-no TSUNE-NOBU。 Signed TSUNE-NOBU.
Seal. End of seventeenth century.

1315. Kakémono, on silk, painted in colours. Size, 36 x 12.

Dove and plum blossom.
Painted by Ka-no TAN-SHIN or Mort-masa. Signed Tan-
SHIN.。 Seal. End of seventeenth century.
This subject is of considerable antiquity. The original is seen in a well-
known picture by the Sung Emperor Hwur Tsune, which has been
engraved in the Wa-Kan mei-gwa yen (1751), and is frequently copied
upon lacquer and keramic ware. The pigeon and the plum or pine tree
are associated as emblems of longevity. (See No. 1298.)

1316. Kakémono, on silk, painted in colours. Size, 42? x 194.

T’ung Fang-so (Jap. Tonosaxu). (See No. 615.)
A Chinese sage receiving the peaches of longevity from an
attendant.
Painted by Ka-no Tan-suin, Signed. Seal. End of
seventeenth century.

1317. Kakémono, on silk, painted in colours. Size, 593 x 263.

Crane and plum-tree.
Painted by Ka-no TAN-SHIN.、 Signed TAN-SHIN， Seal.
End of seventeenth century.
296 JAPANESE
ee ee ct 2 ee eTPICTORIA
eee ReL ART.
Te Se Mt ee,
1318. Kakémono, on silk, painted in monochrome. Size, 11g x 12%.
Hotei. (See p. 37.)
Painted by Taxa-ra Ker-H6. Signed 了 ET-HO Yzr-sar. Seal.
Seventeenth century.
1319. Kakémono, on silk, painted in colours. Size, 513 x 314.
Lin Hwo-ching. (See No. 670.)
A Chinese sage attended by a crane.
Painted by Ka-no Curka-nosv. Signed Curka-nosv. Seal.
End of seventeenth century.
1320. Kakémono, on silk, painted in colours. Size, 40 x 14.
Lin Hwo-ching. (See No. 670.)
A Chinese sage accompanied by a crane. A blossoming plum-
tree stands in the foreground.
Painted by Ka-no TAN-SETSU， Signed Tan-sersv. Seal.
End of seventeenth century.
1321 and 1322, A pair of kakémonos, on silk, painted in colours.
Size, 40 x 14.
Chinese landscapes.
Painted by Ka-no Tan-sersu. Signed TAN-SETSU. peaks
End of seventeenth century.
1323, Kakémono, on silk, painted in colours. Size, 15} x 87.
Flying crane.
Painted by Ka-no Micut-nosv. Signed Ho-cen Yzt-sen.
Seal. Eighteenth century.
1324 and 1325. A pair of kakémonos, on silk, painted in colours.
Size, 32} x 12.
Birds and flowers.
Painted by Ka-no MUNE-NXOBU， Seal. Eighteenth century.
1326. Kakémono, on silk, painted in monochrome. Size, 362 x 18}.
Swallow and lotus,
Painted by Ka-no Hisa-nosu. Signed Hisa-nosv. Seal.
Eighteenth century.
1327. Kakémono, on silk, painted in colours. Size, 19 x 33%.
Japanese landscape.
View of Enoshima, with Mount Fuji in the distance.
 KANO SCHOOL. 297

The apparent size of the mountain is enormously exaggerated—

a very common practice with Japanese artists.
Painted by Ka-no Hisa-nopu. Signed Hisa-nosv. Seal.
Eighteenth century.
1328. Kakémono, on silk, painted in colours. Size, 33} x 143.
White falcon.
Painted by Ka-no Hisa-nosv. Signed Hiss-nosv. Seal.
Eighteenth century.
1329. Kakémono, on silk, painted in colours. Size, 333 x 193.
Flying squirrel (Pteromys momoga).
A clever drawing from nature. Compare with plate in Siebold’s
‘Fauna Japonica.’
Painted by Ka-no Kori-nozv. Signed GEN-SHI-SAI
Ho-1n. Seal. End of eighteenth century.
1330. Kakémono, on silk, painted in colours. Size, 433} x 16.
Jurojin with stag. (See p. 44.)
Painted by Ka-no Kori-nozsu. Signed YO-SEN IN HO-in.
Seal. End of eighteenth century.
1331 to 1333. Set of three kakémonos, on silk, painted in mono-
chrome. Size, 44} x 223.
(1) and (2). Chinese landscapes. ;
(3). Fukurokujiu in conversation with the Emperor
Chén Tsung (?).
Fukurokujiu is distinguished by his lofty forehead. The Emperor,
who holds a sceptre, is probably Chén Tsung of the Sung dynasty.
The white stag is receiving food from a boy, and the crane is seen
wandering in an adjacent grove of bamboos.
Painted by Ka-no Kori-nosu. Signed YO-SEN IN Ho-m.
Seal. End of eighteenth century.
An account of the interview between Chén Tsung and.a personage
answering the description of Fukurokujiu, but called Jurdjin, is given in
the Fuzoku Shi, or Record of Customs, an extract from which in the
Hengaku ki han has been translated by Signor Puini (J sette Genii della
Frelicita, 1872). The passage is of interest, as showing the identity of
Fukurokujiu and Jurdjin (see p. 44).

1334. Kakémono, on silk, painted in colours. Size, 663 x 273.

Chung Kwei. (See No. 687.)
A life-size figure of martial aspect, clothed in a red robe upon
which is embroidered a dragon.
298 JAPANESE PICTORIAL ART.

Painted by Ka-no I-SHIN。 Signed Hé-cun 工 SHIN， End

of eighteenth century.
1335. Kakémono, on silk, painted in colours. Size, 373 x 13%.
Arhat.
An aged man holding a bamboo staff. His sacred character is
indicated by the translucent nimbus and the enlargement of the
ear-lobes.
Painted by Ka-no Té-sen. Signed Zen-raxvu-sar TO-sEN
Ho-aen. Seal. Nineteenth century.
1336. Kakémono, on paper, painted in colours. Size, 50% x 21%.
Falcon.
Painted by Ka-no Naaa-nosu. Signed I-sen H6-cen.
Seal. Early part of nineteenth century.
1337 and 1338. Pair of kakémonos, on silk, painted in colours.
Size, 433 x 16}.
Chinese landscapes. Agricultural scenes.
Painted by Ka-no Naga-nosu. Signed I-sen H6-cEn
NAGA-NOBU， Early part of nineteenth century.
Chinese agriculture is a very favourite subject with artists of the Kano
school. Many large serial pictures by Moronosu, YEITOKU, and others
have been painted to show the different stages of farming and preparation
of rite.

1339 and 1340. Pair of kakémonog, on silk, painted in colours.

Size, 33 x 117.
Chinese landscapes. Sunset and moonlight.
Painted by Ka-no Naca-nosu. Signed I-sen IN Ho-1n.
Seal. arly part of nineteenth century.

1341. Kakémono, on silk, painted in colours. Size, 162 x 30.

Japanese landscape. Spring. A view of a lake and
paddy fields.
In the foreground a party of mountebanks are amusing a little
group of peasants in front of a cottage. Ploughing and other
agricultural operations are going on in the vicinity. The per-
spective of the cattle in the middle distance is peculiar even for a
Japanese picture.
Painted by Ka-no Naaa-nosu. Signed TI-SEN IN Ho-1n.
Seal. arly part of nineteenth century.
 KANO SCHOOL. 299

1342. Kakémono, on silk, painted in colours. Size, 413 x 13 4.

Japanese landscape. Lake scene, with Mount Fuji in
the distance.
Painted by Ka-no Naga-nosv. Signed ISEN Fus-wara
No Naca-nosu. Seal. Early part of nineteenth century.

1343. Kakémono, on paper, painted in colours. Size, 21 x 36}.

Chinese landscape. Lake and mountain scenery.
Painted by Ka-no Naca-nosu. Signed I-sen IN H6-1.
Seal. Early part of nineteenth century.
1344, Kakémono, on silk, painted in colours. Size, 34} x 13}.
Fukurokujiu. (See p. 30.)
Painted by Ka-no NAGA-NOBU， Signed I-SEN Fusi-wara
NO Naca-nosu. Seal. Nineteenth century.
1345. Kakémono, on silk, painted in colours. Size, 193 x 334.
The Seven Sages of the Bamboo Grove. (See No. 765.)
Painted by Ka-no Osa-nosv. Signed Sri-sen Hod-cen.
Seal. Nineteenth century.
1346. Kakémono, on silk, painted in colours. Size, 147 x 243.
“Adzumaya-buné.” The elopement of Adzumaya Kimi.
A Court noble and lady in a boat drifting along the moonlit
river.
Painted by Ka-no Osa-nozpv. Signed Sert-sen Ho-cen,
Seals. Nineteenth century.
The picture represents an incident in the Genji Monogatari, the elope-
ment of a Court lady named Adzumaya Kimi with her lover, Nio Gisbu
Kis, the son of Hikaru Genji, upon the Uji river. (See Sha-hd Bukuro,
vol. i.)

1347 and 1348. A pair of kakémonos, on silk, painted in colours.

Size, 402 x 15.
Gama Sennin. (See No. 703.)
A wild-looking figure caressing a three-legged toad.
Li T’ieh Kwai (Jap. Texxar SENNIN).
A ragged cripple breathing forth a miniature image of himself.
Painted by Ka-no Osa-nosu. Signed Set-sen Ho6-cen.
Seal. Nineteenth century.
Li T’ieh Kwai is one of the most familiar of the Taoist Rishis. Accord-
ing to the Ressen zen Den he was a pupil of Lao-tsz’, and possessed the
300 JAPANESE PICTORIAL ART.

power of setting free his spirit from the encumbrance of its earthly frame.
One day, desiring to visit his instructor in the mountain of the Immortals, he
instructed a disciple to take charge of his body, saying that he (@.e. his vital
or spiritual essence) would return to resume possession in seven days. On
the sixth day the guardian received intelligence that his mother was
sick, and in conformity with the laws of filial piety was forced to depart
and hasten to her succour. On the seventh day the spirit of Tieh Kwai
returned according to promise, but, the material frame having disappeared,
it was compelled to take refuge in the dead body of a starved toad. Hence
the face of the Rishi was from that time ugly, and he was lame in gait.
(Ressen zen Den, vol. i.)
The story as told by Mayers differs somewhat in detail. The original
form of the Rishi is said to have been of noble proportions and aspect, but
the spirit on its return from its journey, finding the body to have become
devitalized in consequence of its desertion by the disciple, entered the
corpse of a lame and crooked beggar whose soul had at that moment taken
its flight, and in this shape the philosopher continued his existence
supporting his halting footsteps with an iron staff.
He is included by the Taoist writers in the category of the Eight
Immortals, but no precise period is assigned to his existence upon earth
(Mayers). It appears probable that he was a real personage, and that the
fable here narrated was an invention by himself or his disciples to explain
his physical defects.

1349 to 1351. Set of three kakémonos, on silk, painted in

colours. Size, 42 x 13%.
Chinese landscapes. Spring, summer, and winter
views.
Painted by Ka-no Osa-Nosu. Signed Sxt-sen Ho-crn.
Seal. Nineteenth century.
1352. Kakémono, on silk, painted in colours. Size, 16} x 241.
Falcon and egret.
Sketched in the style of Tanyu.
Painted by Ka-no Osa-nosv. Signed Sar-sEN IN Ho-m.
Seal. Nineteenth century.
1353. Kakémono, on silk, painted in monochrome. Size, 37} X 11}.
Lion and cub. (See No. 1553.)
A lion has cast his offspring from a precipice and stands watching
the result with an expression of ferocious interest.
Painted by Ka-no Osa-nosv. Signed Sst-sen 再 0-GEN，
Seal. Nineteenth century.
of
The paternal lion is said to be in the habit of testing the viability
Spartan
his cubs by casting them from a high rock. If the result of this
victim was
experiment be fatal, it is considered a proof that the youthful
unworthy to attain the dignity of full Jionhood.
 KANO SCHOOL, 301

1354. Kakémono, on silk, painted in colours. Size, 373 x 103.

Wave birds (Nami no Curpor!).
Small birds flying above the surface of the waves.
Painted by Ka-no Osa-nosu. Signed SET-SEN IN Ho-m.
Seal. Nineteenth century.
The Nami no Chidori is described by Mr. Suyematz as “a small sea-
bird that always flies in large flocks. Its cries are considered very
plaintive, and are often alluded to by poets.” The name is probably
applied to any small birds that fly about the shore, and Messrs. Blakiston
and Pryer state that it may belong to any kind of sandpiper, plover, or
dotterel. In pictures the Chidoris are represented as having the size and
general aspect of sparrows. The artist, by a play of fancy, sometimes
makes it appear that the little flutterers are a transformation of the
spherules of spray detached from the wave crests.

1355 to 1857. <A set of three kakémonos, on silk, painted in

colours. Size, 83} x 12}.
(1) and (2). Chinese landscapes.
(3). Ch’én Nan (Jap. OHINNEN SENNIN)， See No. 795.
A man of wild aspect holding up a cup from which a dragon is
darting into the skies.
Painted by Ka-no Osa-nosv. © Signed Srr-sen Ho-cun
Osa-nosu. Seal. Nineteenth century.

1358. Kakémono, on silk, painted in colours. Size, 21? x 34.

Kohogen’s dream.
Kwanshéjo (see No. 28) mounted upon a black ox, riding
furiously. ’
The picture is said to be an illustration of a dream of Kano
Moronosu, but its significance is uncertain: it is only known that
Sugawara no Michizane (Kwanshéjo) was in the habit of riding
upon an ox during his banishment in Kiushia.
Painted by Ka-no Sxo-sen. Signed SHO-SEN 再 0-GEN
Fustwara No Masa-nosu. Seal. Nineteenth century.

1359. Kakémono, on silk, painted in colours. Size, 42 x 16}.

Chinese palace with mountain scenery.
The inhabited portion of the building is raised to a great height
upon an elevated basement of stone or brick, an expedient often
adopted both in Japan and China to increase the range of
prospect. The entrance of the palace bears a framed inscription,
“The Gate of Immortality.” The modification of style shown by
minute attention to detail, and the use of bright colours, is an
innovation in the school that dates from about 1830.
302 JAPANESE PICTORIAL ART.
ce haere tater eta cet eps ebaise h ence sin cetaint
Painted by Ka-no TAN-SEI-SAT Mort-rosnr. Signed TAN-
SEI-SAI Mori-rosni. Seal. Nineteenth century.
1360. Kakémono, on silk, painted in colours. Size, 23} x 103.
The Thirty-six famous Poets (San-s1u-nox’ Kasrn).
Figures painted upon a gilded background (See No. 343).
Painted by Ka-no Sud-sury. Signed. Sud-sury. Seal.
Nineteenth century.
1361. Kakémono, on silk, painted in colours. Size, 40 x 13%.
Yang Kwei-fei (Jap. Yoxtu1). See No. 668.
Painted by Haxv-errs0-sar 了YoSHI-NOBU (or YUSHIN).
Signed. Two seals. Nineteenth century.
1362. Kakémono, on silk, painted in colours. Size, 403 x 17.
The emblems of longevity.
Fukurokujiu, with the stag, crane, and hairy-tailed tortoise ; near
by are the pine, bamboo, and plum trees (“Sho-chiku-bai”), The
whole are grouped to form a circular composition.
Painted by Ka-no YosHI-NOBU (or BI-SHIN)。 Signed Yosut-
nosu. ‘lwo seals. Hightéenth century.
1363. Kakémono, on silk, painted in colours. Size, 16} x 281.
Landscape. Snow scene.
Rapid ink sketch; lightly tinted with colour.
Painted by Ka-no YosHI-NOBU (or Gi-sntn) at the age of
seventy-seven. Signed YoSHI-NOBU. Seal. Highteenth century.
1364 and1365. A pair of kakémonos, on silk, painted in colours.
Size, 40 x 132.
Peonies.
The colouring is crude, and a rather unpleasant effect is created
by the introduction of a background of a blue of indifferent quality,
which made its first appearance in Japanese pictures after the
middle of the present century.
Painted by YoSHI-NOBU Haxv-cersu-sar. Signed TO-RIN
Fusi-wara no YOSHI-NOBU。 Seal. Nineteenth century.
1366. Kakémono, on paper, painted in monochrome. Size,
41 x 142.
Fukurokujiu. (See p. 30.)
Painted by Ka-no YosHI-NOBU (or Gi-surn). Signed.
Seal. Highteenth century.
 KANO SCHOOL. 303

1367. Kakémono, on silk, painted in colours. Size, 333 x 14}.

The ceremony of gathering seaweed at Hayato
Momidju (“ WAKA MEKARI NO JIUJI”).
The waters of the sea at the foot of a Shintd temple are dividing
to leave a pathway for the descent of the priests to gather seaweed
from the bottom.
Painted by Ka-no TO-SHUN (?). Signed Ho-cen T6-sHun.
Seal. Highteenth century.
It is believed that the sea at the foot of the Shints temple Hayato
Momidju, in the province of Nagato, dries on the last day of every year
at the hour of the Rat (midnight), and the Shintd priests then descend
with torches to cut the seaweed from the exposed bed of the ocean as an
offering to the gods for the first day of the New Year. “ It was the opinion
of many that the Dragon King forced the waters to separate” ( Yokiokw
Gwa-shi).
1368. Kakémono, on silk, painted in monochrome. Size,
372 X 133.
Sparrow and pine. Snow scene.
Rapid sketch in ink.
Painted by Ka-no TO-SHUN。 Signed Hod-cen To-suun.
Seal. Eighteenth century.
1369. Kakémono, on silk, painted in monochrome. Size,
343 x 153. .
Chung Kwei (Jap. SHEOEKD riding upon a lion (see No. 687).
Sketched in red ink.
Painted by Ka-no SHIN-SHO. Signed. Seal. Inscription
by Dasan. Nineteenth century.
1370, Kakémono, on paper, painted in colours. Size, 19} x 112.
Hotei and boy.
Painted by Ka-no Surn-sHd. Signed SHIN-SHO.、 Seal.
Nineteenth century.
1871. Kakémono, on silk, painted in colours. Size, 393 x 13%.
Seishonagon drawing up the blind.
Seishonagon in a room in the palace is rolling up a blind to
expose the landscape. The Emperor (the lower part of whose dress
alone is visible) is in the background, and a lady and two courtiers
are seated in front.
Drawn and coloured in the style of the Yamato school.
Painted by Ka-no SHIN-SHO. Signed. Seal. Nine-
teenth century.
Seishdnagon was a maid of honour, famous for her beauty and intel-
lectual accomplishments, in the service of the consort of the Emperor
304 JAPANESE PICTORIAL ART.

Ichij5 (reigned 987 to 1010 a.p.). Like her ill-fated prototype Ono no
Komachi, she sank into indigence and misery in her old age, and became a
mark for pity if not for charity.
The picture illustrates an occasion on which she gained high praise fur
her ready comprehension of a classical allusion made by the Empress, her
recognition of the quotation being silently conveyed by the display of the
winter scene outside the palace. (See Griffis’ ‘ Mikado’s Empire.’)

1372. Kakémono, on silk, painted in monochrome, Size,

322 x 12%.
A rescue.
A man in a boat is going to help a person in the water who is
praying for assistance.
Painted by Ka-no CarKa-nopu. Signed CHIKA-NOBU.
Seal. Eighteenth century.
This picture is no doubt an illustration of a Chinese legend, but the
story has not been traced.

1373. Kakémono, on silk, painted in colours. Size, 36} x 13}.

Sparrow and bamboo.
Quickly sketched in ink; bird lightly tinted with colour.
Painted by Ka-no Kwan-suin. Signed Kwan-suin. Seal.
Nineteenth century.
1374. Kakémono, on silk, painted in monochrome. Size,
374 x 134.
Chung Kwei and the Demon. (Sce No. 687.)
Painted in red; the pupils of the eyes and corners of the mouth
are touched with black.
Painted by IcHI-GIoOKU-SAI Yer-suun. Signed. Seal. Nine-
teenth century.
1375. Kakémono, on silk, painted in colours. Size, 45 x 191.
Hachimantaro (Minamoro no Yosut-ryi).
A warrior on a black horse stopping to look at the falling petals
of the cherry-blossoms, ‘The curious conventionalization of the
flowers is worthy of notice.
Painted by Icut-cioxu-sar Yut-suun. Signed Icut-aioxv-
SAI Seal. Nineteenth century.
Minamoto no Yoshi-iyé was the eldest son of Yoriyoshi (see No. 219).
Yoriyoshi having dreamed that the god Hachiman appeared to him and
presented him with a sword, and his wife shortly afterwards giving birth
to a son, interpreted the dream as a portent of the future greatness of his
offspring, and conferred upon the infant the name of Hachimantaré, or
the Young Hachiman.
 KANO SCHOOL. 305

In due time the child became a brave man and a “ god-like archer.” So
great was his strength that he could pierce three suits of armour placed
one behind the other with his arrow; and even the evil spirits were
dominated by his prowess, for in the third year of Kahé (a.p. 1096), when
the Emperor was seized by a mysterious illness, the third twang of Yoshi-
iyé’s terrible boy-string in the Imperial bed-chamber caused the demons
of disease to fly, and the royal patient was immediately restored to health.
Many stories are told of his deeds of valour during the war in Oshii.
1376. Kakémono, on silk, painted in colours. Size, 432 x 131.
Chao Yiin (Jap. CHO-UN) leaping the chasm. (See
No. 689.)
Painted by Ka-no Kapzu-nosv. Signed Kun-yt-sar
Kapzu-nosu. Seals. Nineteenth century.
1377 and 1378. Pair of kakémonos, on silk, painted in colours.
Size, 424 x 172.
Horses.
These pictures illustrate the want of appreciation of the Japanese
artist for the anatomical forms of the horse. The action of the
animal is well indicated, though less successfully than usual,
and the proportions are good; but the shapeliness of head, trunk,
and limbs is entirely missed, and the defects of drawing are
exaggerated where any attempt has been made at foreshortening.
Painted by Ka-no 及 ADZzU-NOBU. ‘Signed Hoxxid 及ADZU-
nosu. Seal. Nineteenth century.
1379. Kakémono, on paper, painted in colours. Size, 493 x 223.
Hachimantaro. (See No. 1375.)
In the dress of a Court noble, mounted upon a dapple grey horse.
Painted by Suru-amn Sapa-nogsu. Signed. Seal. Nine-
teenth century.
1380 and 1381. A pair of kakémonos, on silk, painted in colours.
Size, 431 x 174.
Carp.
In one picture the fish is leaping up a cataract; in the other it is
sporting in the agitated waters of a torrent.
Painted by Suru-aen Sapa-Nnospu. Signed. Seal. Nine-
teenth century.
1382 and 1383. A pair of kakémonos, on silk, painted in colours.
Size, 852 x 122.
Chinese landscape, with the Seven Gods of Good
Fortune. (See p. 27.)
1. Hotei and Jurdjin are seen crossing a bridge to reach a
x
306 JAPANESE PICTORIAL ART.

pavilion in which Benten is seated playing upon a stringed

instrument.
2. Wbisu and Daikoku making merry while Bishamon studies a
manuscript. A white crane bearing Fukurokujiu is winging its
way through the skies to join the assemblage.
Painted by Ka-no Ki-suin, Signed Kr-sury. Seal. Nine-
teenth century.
1384. Kakémono, on silk, painted in colours. Size, 43} x 193.
The Empress Jingo in Korea.
The Empress, mounted upon a dapple grey horse, is writing upon
a rock with the end of her bow the triumphant inscription, “ Koku
O,” or Monarch of the Country.
Painted by Ka-no Cut-suty. Signed Ho-cen Naca-nipit
CHI-SHIN Seal. Nineteenth century.
It is said that the Empress Jing0, after the conquest of Korea, signed
the characters “ Koku O,” as a mark of annexation, upon a rock on the
sea-shore.
1385. Kakémono, on silk, painted in colours. Size, 33} x 134.
Chinese sage and children.
The figure of the sage resembles that of J urédjin, but the
attributes are different. ;
Painted by Ka-no Tan-saxu. Signed Ho-cen Tan-sakv.
Seal. Eighteenth century.
1386 to 1388. A set of three kakémonos, on silk, painted in
colours. Size, 363 x 11%.
(1) and (2). Chinese landscapes.
(3). Fukurokujiu, with emblems of longevity.
Painted by Ka-no TATSU-NOBU (or Rrrsu-suin). Signed
Yer-roxu Tatsu-nopu. Seal. Nineteenth century.
1389. Kakémono, on silk, painted in colours. Size, 102 x 214.
Lion dance (SHISHI-MAT).
Two mummers, covered by a cloth and mask, are made up to re-
present the conventional lion, and are dancing before an admiring
audience of two or three children and a coolie.
Painted by Ka-no Tartsu-nopu. Signed SEI-sETSU-SAI
TATSU-NOBU. Seal. Nineteenth century.
1390. Kakémono, on silk, painted in colours. Size, 20} x 27.
Chinese scene.
An Emperor, seated in a boat, is looking at an enormous carp
placed before him by two warriors.
 KANO SCHOOL. . 307

Painted by Tan-cersu-sar Mori-yosur. Signed. Seal.

Nineteenth century.
The legend or incident referred to in the picture has not been traced.

1391. Kakémono, on silk, painted in colours. Size, 352 x 113.

Chinese landscape.
Painted by TAN-RIDT Mori-tama. Signed Tan-rid. Seal.
Nineteenth century.
1392 and 1393. A pair of kakémonos, on silk, painted in colours.
Size, 38 x 112.
The Seven Gods of Good Fortune. (See p. 27.)
The male portion of the assemblage are seated upon the ground
amusing themselves with conversation, while Benten touches the
cords of the biwa.
Painted by Tan-sar T6-sur at the age of seventy. Signed.
Seal. Nineteenth century.
1394. Kakémono, on silk, painted in colours. Size, 33} x 11%.
Pheenixes. (See No. 867.) .
Painted by Nan-sen. Signed. Seal. Nineteenth century.
1395. Kakémono, on silk, painted in colours. Size, 52 x 151.
Murasaki Shikibu composing the Genji Monogatari.
The poetess seated in rapt contemplation in a pavilion over-
looking Lake Biwa. The image of the moon is reflected upon the
tranquil waters. Drawn in the style of the Yamato school.
Painted by TAN-SEI Mori-raxa. Signed. Seal. Nine-
teenth century.
Murasaki Shikibu was in her youth a maid of honour to the lady who
afterwards became the consort of the Emperor Ichijo. She married a
Kugé named Nobutaka, to whom she bore a daughter, named Idzumi
Shikibu (the authoress of a work of fiction called Sagoromo Monogatari).
Surviving her husband, she spent her latter years in peaceful retirement,
and died a.p. 992. The exact date of her story is not given in the
book, but her diary proves that it was composed before she arrived at
old age. (See p. 113.)
Tradition says that when she was requested to write the story she
retired to the Buddhist temple in Ishiyama, situated on hilly ground at
the head of the picturesque river Uji, looking down upon Lake Biwa.
“It was the evening of the fifteenth of August. Before her eyes the view
extended for miles. In the silver lake below, the pale face of the full
moon was reflected in the calm, mirror-like waters, displaying itself in
indescribable beauty. Her mind became more and more serene as she
gazed on the prospect before her, while her imagination became more and
> 2
 308 JAPANESE PICTORIAL ART.

more lively as she became calmer and calmer. ‘The ideas and incidents of
the story which she was about to write stole into her mind as if by divine
influence” (Translation of Genji Monogatari by K. Suyematz, 1882).

1396. Kakémono, on paper, painted in colours. Size, 433 x 20.

Cranes.
Painted by RAN-SEN Mori-nmo. Signed. Seal. Nine-
teenth century.
1397. Kakémono, on silk, painted in colours. Size, 43 x 178,
Chinese landscape, with figures of sages.
Drawn witha fine brush, and highly coloured.
Painted by Tan-cen-sat MoRI-TSUNE. Signed. Seal.
Nineteenth century.

1398. Kakémono, on silk, painted in colours. Size, 342 x 10%.

3 The Hundred Monkeys.
A number of long-armed monkeys sporting upon a rocky bank.
The animal is a kind of Gibbon, wholly unlike the Inuus or
Macacus speciosus of Japan, whose form and features have been
perpetuated by SHIUHO and Sosen.
Painted by Ko-16 Yo-xur. Eighteenth century.

1399, Kakémono, on silk, painted in colours. Size, 43 x 204.

Chinese landscape showing the Four Seasons, and the
Twelve Signs of the Zodiac.
The picture is wholly ideal. The foreground of the scene is
brightened by the early blossoms of spring, and the signs of the
later seasons are traceable in the landscape through summer and
autumn, to the snow-clad peaks of a wintry distance. The animals
representative of the zodiacal signs are distributed over the different
parts of the view in such a manner as to render their discovery a
rather puzzling process. ‘The geology and perspective are almost as
fictitious as the coincidence of seasons.
Painted by Ka-no YEI-HAKU。 Signed Sar-ro YEI-HAKU。
Seal. Eighteenth century.

1400. Kakémono, on paper, painted in monochrome. Size,

504 x 1732.
Chinese landscape. “ Snow scene at the gate of Isen.”
An impressionistic study in black and white.
Painted by Ka-no YEI-GAKU。 Signed Ka-no NuIi-no-suxe
Yer-aaxu. Seal. Nineteenth century.
 KANO SCHOOL. 309

1401. Kakémono, on silk, painted in colours. Size, 40 x 174.

Grey falcon.
Painted by Ka-no SEI-SHIN.。 Signed. Seal. Eighteenth
century. .

1402. Kakémono, on silk, painted in colours. Size, 39} x 13%.

Crane, rock, and peach. (See No. 690.)
Painted by TAN-SAI Yer-cut. Signed. Two seals. Nine-
teenth century.
1403. Kakémono, on silk, painted in colours. Size, 34} x 14}.
Cocks fighting.
Painted by Yut-sut. Signed. Seal. Eighteenth century.
1404. Kakémono, on silk, painted in colours. Size, 37} x 133.
Hachimantard watching the fall of the blossoms.
(See 1375.)
Painted by Ka-no Sud-sury. Signed Kiv-snun SHO-SHIN.
Nineteenth century.

1405. Kakémono, on silk, painted in colours. Size, 17 x 243.

The journey of the Shogun’s Envoy from Yedo to Aki.
The kago (palanquin) bearing the Envoy is escorted by a crowd
of lantern-bearers amidst the excitement of the populace. The
procession is about to enter the gateway of the Daimio’s mansion.
It will be noticed that the roof shingle is kept in position by
heavy stones, an expedient which in many provinces replaces the
use of thatch and tiles.
Painted by Tan-sat Mori-pzumr in the third year of
Kokwa (1846). Signed OHO-TAN-SAI Fust-wara MOoRI-DZUMI.
Seal. Nineteenth century.

1406. Kakémono, on silk, painted in colours. Size, 403 x 223.

Portrait of Takéda Shingen.
The mounting border, which resembles that of a Buddhist picture,
is represented by a diaper design, cleverly drawn upon the margin
of the silk on which the picture is painted.
Name of painter inscribed on back of picture as ON
Epoxoro Kamr §6-Ter Fust-wara no Yo-SHIN。 Nineteenth
century.
Takéda Shingen was a famous chieftain of Koshiii in the sixteenth century
noted for his battles with Uyésugi Kenshin, and reputed also as a painter
and calligraphist. He died in 1573.
210 JAPANESE PICTORIAL ART.

1407. Kakémono, on silk, painted in colours. Size, 433 x 161.

Landscape with view of Mount Fuji.
Style somewhat resembles that of Tosa school.
Painted by Tan-aursu-sat Mort-yosnr. Signed. Seal.
Nineteenth century.
1408. Kakémono, on silk, painted in colours. Size, 491 x 191.
Peacock’ and peonies.
Painted by TAN-I Mort-yosur. Signed. Seal. Nine-
teenth century.

1409. Kakémono, on silk, painted in colours. Size, 36 x 15.

Chung Kwei and demon. (Sce No. 687.)
The demon-queller has seized the imp, who has stolen the flute
of Yang Kwei-fei, and is squeezing his eyes out of their sockets.
Painted by Isser. Signed. Seal. Eighteenth century.
1410. Kakémono, on silk, painted in colours. Size, 313 x 11}.
The Tri-corporate Sage.
Three figures with one head in common. Two of the profiles
are so blended as to represent the front aspect of a third face.
Painted by TO-HAKU AI-SHN。 Signed. Nineteenth
century.
The subject is probably to be classed with that of the Three Wine
Tasters (No. 1548), as implying the community of sentiment or essence in
different religions. ‘The faces represent S’Akyamuni (Buddhism), Lao Tsze
(Taoism), and Confucius,

1411. Kakémono, on silk, painted in colours. Size, 354 x 123.

“No” dancer,
A man in female dress, with the mask of a Court lady.
Painted by Gioxu-yen Yer-sury. Signed. Seal. Nine-
teenth century.
1412. Kakémono, on silk, painted in colours. Size, 45 x 192.
Mountain Elf.
An ugly dwarfish figure, in gaily-coloured clothing of Chinese
shape, carrying a bundle of books, a gourd, and a musical instru-
ment, slung on to the head of a long fork.
Painted by ‘To-xo-sar. Signed. Seal. Nineteenth
century.
 KANO SCHOOL. 311

1413. Kakémonos, on silk, painted in colours. Size, 38} x 14$.

The Seven Worthies of the Bamboo Grove (CHIKURIN
Suicut-Kengin). See No. 765.
Painted by various artists of the Kano and Tosa schools,
living in the middle of the present century.
Signed TAN-GEN-SAI (Kano).
Nargt Hrro-sapa (Tosa).
Ket-suit Hrro-nosv (Tosa).
TO-SEN H6-aEn (Kano).
SHO-SEN H6-cun (Kano).
Yer-suin 了TATSU-NOBU (Kano).
TAN-YEN-SAI HO-GEN (Kano).
Such an association of several artists for the production of
a single picture is not uncommon in Japan.

1414, Kakémono, on silk, painted in colours. Size, 413 x 174.

The Hundred Cranes.
A flight of red-crested cranes (Grus viridirostris) assembling in
their mountain retreat. Pine, bamboo, and plum trees, emblems of
longevity, are seen growing from the rocks.
Painted by Sur-sur. Signed. Seal. Nineteenth century.

1415 and 1416. A pair of kakémonos, on silk, painted in colours.

Size, 413 x 16}.
Various subjects. Flowers, &c.,in the form of Hari-
mazé or screen mounts.
Effect of colouring deteriorated by the use of European pig-
ments.
Painted by Sut-sur. Signed. Seal. Nineteenth century.

1417 to 1419. A set of three kakémonos, on silk, painted in

colours. Size, 38} x 14%.
Falcons.
Painted by Bar-Kwa-Ken. Seals. Early part of nine-
teenth century.

1420 and 1421. A pair of kakémonos, on silk, painted in colours.

Size, 34} x 134.
Hawks.
Painted by Kano Tiéru-nosu. Signed Ho-cun YU-szr.
Seal. Eighteenth century.
312 JAPANESE PICTORIAL ART.

1422. Kakémono, on silk, painted in colours. Size, 423? x 163.

Yang Kwei-fei (Jap. YOKIHI). See No. 668.
A Chinese lady, richly attired and playing upon a stringed
instrument. The artist’s ideal of female beauty is lacking both in
grace and intellect.
Coloured in the style of the Ming dynasty. It will be noticed
that the diaper pattern of the dress is continued without modifica-
tion over the folds. This is a very common practice with Japanese
artists, and adds considerably to the general flatness of effect in
their colouring.
Painted by Ka-no 及 WAI-SHIN-SAT (OSA-NOBU ?) Signed
了及WAI-SHIN-SAT H6-czn. Seal. Nineteenth century.
1423 and 1424. A pair of kakémonos, on silk, painted in colours.
Size, 44} x 201.
an
Birds and flowers.
Painted by Rid-suin. Signed. Seal. Nineteenth cen-
tury.
1425. Kakémono, on silk, painted in colours. Size, 37 x 13%.
Sparrows and peony. Rain scene.
Painted by RIN-SHIN. Signed Hoxx1d Rin-sury. Nine-
teenth century.
1426. Kakémono, on silk, painted in colours. Size, 423 x 164.
CHEUNG Kwer. (See No. 687.)
The demon-slayer, with an air of suspicion, stands upon a
narrow bridge, beneath which is crouched the shrinking figure of
a little demon.
Painted by Ka-no TAI-GEN-SAI SHO-SHIN。 Signed Ka-no
Suo-suin. Seal. Nineteenth century.
1427. Kakémono, on silk, painted in monochrome. Size, 343 x 14.
Kin Kao (Jap. Kinxo Srnnin). See No. 794.
Chinese sage holding a roll, and seated upon a large carp which
is just springing from the water.
Painted by Ka-no Sud-un. Signed Ka-no Hoxxi6 SHO-UN.
Seal. Seventeenth century.
1428. Makimono, paper, painted in colours. Length, 236 x 12.
Asaina in Hades.
The hero is first seen browbeating the “Old Woman of the Three
Paths,” and the demons at the entrance to the infernal regions.
 KANO SCHOOL. 313

He is next found displaying his superior physical prowess in a

struggle with the demons, whose efforts fail to shake his foothold.
In the following picture he is holding up a sturdy vermilion devil
upon his outstretched arm. After this he vanquishes a huge
black fiend at a trial of force called Kubi-hiki (neck-pulling), and
another formidable monster with long horns and three eyes is, in
turn, compelled to yield to him in strength of wrist and fore-arm,
while an important personage in rich robes and of official aspect looks
on at the redoubtable intruder in grave astonishment. After giving
one or two other proofs of his vigour, he appears as an honoured
guest of Yama, the King of the Infernal realm, and is ministered to
by the whole of the retinue of hell.

Painted by Ka-no San-naxu. Two seals. End of six-

teenth century.
Asaina Saburo was one of the most famous adherents of Yoritomo. His
great strength is commemorated by many stories, of which the following
(in addition to the subject of the roll) are frequently utilised as art
motives :一
1. Wrestling with a rival named Matano no Gord.
2. Catching and throwing back a mass of rock cast down at him from
a height by Matano no Gord.
3. Struggling with Soga no Gord. (See p. 384.)
4. Swimming with a shark under each arm, asa display of strength and
natatory skill, before Yoritomo and his retainers (see Zenken Kojitsu).

1429 and 1430. A pair of makimonos, paper, painted in mono-

chrome. Length, 724 x 10.
Chinese and Japanese landscapes.
Roughly sketched.
Copied from designs by Ka-no TAN-YU and other artists of
the same school. Eighteenth century.

1431. Makimono, paper, painted in colours. Length, 356 x 124.

Landscapes, chiefly Japanese.
Painted by Ka-no NAGA-NOBU。 Signed Ka-no 工 SEN YEI-
SHIN。 Seal. Dated in the third year of Bunkwa (1806).

1432 and 1433. A pair of makimonos, silk, painted in colours.

Length, 101 x 10%.
“The Hundred Cranes.”
Painted by Kano SHIN-SHO， Signed. Seal. Highteenth
century.
314 JAPANESE PICTORIAL ART.

1434 to 1436. A set of three makimonos, paper, painted in

colours. Length about 315 x 12}.
The banks of the Sumida-gawa.
The river is traced upwards from its mouth at the Bay of Yedo.
The pictures, which convey a remarkably truthful impression of the
general character of the scenery, are painted after the manner of
the Ukiyo-yé, and the artist has even made an attempt at linear
perspective in the drawing of the bridges.
Painted by Ka-no Kru-yur. Signed Fust-wara no Kiv-
YEI， Seal. Highteenth century.

1437 to 1441. A set of five makimonos, paper, painted in mono-

chrome. Sizes various.
Miscellaneous rough sketches.
Painted by TAN-SHIN-SAT Mort-micut. Signed Ka-no TAN-
SHIN-SAI Mort-micur. Nineteenth century.

1442. Makimono, on paper, painted in monochrome. Length,

253 x 104.
Landscapes.
Rapid sketches.
Painter unknown. No signature or seal. Eighteenth
century.

1443. Makimono, on silk, painted in colours. Length, 234 x 133.

Horses.
Boldly sketched in ink and lightly tinted with colours.
Artist unknown. No signature or seal. Nineteenth
century.

1444. Makimono, paper, painted in monochrome. Length,

180 x 112.
Chinese Sages and Rishis.
Rough sketches.
(1.) Lin Hwo-ching (Jap. RINNASEI)。 Sage with crane. (See
No. 670.)
(2.) Wang Hi-che (Jap. Ocisn1). Sage with goose.
Wang Hi-che was a Chinese official of distinction in the fourth
century (A.D. 321 to 379). He is principally celebrated for his skill in
calligraphy, the modern principles of which he in great measure instituted
(Mayers). He is said to have shown great fondness for the companionship
of geese.
+ KANO SCHOOL. 315

(3.) Ché’n Nan (Jap. Curnyan). Rishi crossing a stream upon

ahat. (See No. 795.)
(4.) Kin Kao (Jap. Kinxo). Rishi flying through the air upon
acarp. (See No. 794.)
(5.) Wang Tsz’ Kiao (Jap. Osutkid). Rishi upon crane.
Wang T'sz’ Kiao,a famous rishi, is said to have been the son of Chow
Ling Wang (s.c. 571). “ According to the legends he abandoned his
heritage and gave himself up to a wandering life, diverting himself by
playing the flute. Having been initiated into the mysteries of Taoism by
Tow K’iu Kung, he dwelt with this sage for thirty years upon the How-she
mountain. One day he sent a message to his kindred, desiring that they
should meet him on the seventh day of the seventh moon at the summit of
this mountain ; and at the time appointed he was seen riding through the
air upon a white crane, from whose back he waved a final adieu to the
world as he ascended to the realms of the genii.” (Mayers’ ‘Chinese
Reader’s Manual,’ Part I., No. 801.)
(6.) Rishi with banana-leaf.
(7.) Chang Kwoh (Jap. Cuoxwaro). Rishi holding a gourd
from which emerges a horse.
Chang Kwoh, one of the ‘Eight Rishi’ of the Taoists, flourished
towards the close of the seventh and middle of the eighth century.
“Leading an erratic life, he performed wonderful feats of necromancy.
His constant companion was a white mule, which carried him thou-
sands of miles in a day, and which, when he halted, he folded up and
hid away in his wallet. When he again required its services he spirted
water upon the packet from his mouth, and the beast at once resumed its
proper shape.” He expired, or as the Taoists assert, entered into immor-
tality without suffering dissolution, about A.D. 740, after a second summons
from the Emperor Ming Hwang to his Court. (See Mayers’ ‘Chinese
Reader’s Manual,’ Part I., No. 22.)
In Japanese pictures he is often represented in association with Li T’ieh
Kwai (see No. 1302), and the spiritual essence escaping from the mouth of
the latter is made to mount upon a miniature horse or mule that appears
out of a gourd carried by Chang Kwoh, and rides away through the air to
the home of Lao T'sz’,
(8.) Hwang Chuh-ping (Jap. Késnoner). Rishi turning
stones intosheep. (See No. 66, Chinese.)
(9.) Chu Mai-ch’én (Jap. Suusaisuin). A wood-cutter reading
while carrying his faggots.
Chu Mai-ch’én lived under the Han dynasty, and was originally a
humble purveyor of firewood, but his thirst for knowledge led him to read
incessantly, even while carrying his faggots for sale to the city. His wife
often rated him soundly on the score of his inattention to his trade, and at
last, though exhorted to forbearance and patience for yet a few years, she
quitted his house with revilings, and married another man. As years
passed, the fame of the woodseller’s learning became noised abroad till it
reached the ears of the Emperor, and procured him a summons to an
honourable employment. Finally, he was appointed to. the position of
316 JAPANESH PICTORIAL ART.
Pe eeert Nr earet Sea edSa Ee aR, STINE Pe WOES Wetale NTE es etl YY een
governor of his native province, and soon afterwards set out to visit his
former home, in all the pomp of his new rank, “that he might not be
like a man who journeyed by night after having clothed himself in fine
raiment.” On his way he saw two road scavengers, who, as the cortege
approached, drew to the side of the path to bow down before him, and in
the wretched labourers he recognised his former wife and her second
husband. Pitying their poverty, he stopped his carriage and took them
with him to his house, where he treated them with great regard. The
woman, however, inconsolable for her past folly, and overwhelmed by the
sense of unmerited kindness, went and hanged herself. Chu Mai-ch’én
ordered that her corpse should be interred with all respect, and the
husband was dismissed with gifts of money. (See H-hon Ridzai, vol. iii.)
(10.) Lii Ngao (Jap. Roxs). Rishi with Sacred Tortoise.
Artist unknown. Nineteenth century.
1445, Makimono, on silk, painted in colours. Length, 215 x 113.
The Hundred Cranes.
Painted by Ka-no TEN-SHIN， Signed Tax-sSHIN， Seal.
Kighteenth century.
1446 and 1447. A pair of makimonos, paper, painted in colours.
Length, 308 x 103.
Miscellaneous rough sketches,
Painted by Ka-no SHIN-SHO. Signed Ka-no I-SHIN and
SHIN-SHO I-suiy. Seal. Nineteenth century.
Amongst other subjects will be found illustrations of two well-known
zoological myths, the Uwabami and the Kappa (see p. 170).

1448. Makimono, paper, painted in monochrome. Size, 872x118.

Miscellaneous rough sketches.
Artist unknown. Nineteenth century.
1449. Makimono, paper, painted in monochrome. Length,
396 x 203.
Miscellaneous rough sketches.
Artist unknown. Nineteenth century.
1450 to 1459. Unmounted drawings, painted in monochrome.
Miscellaneous rough sketches.
Artist unknown. Nineteenth century.
1460. Unmounted drawing, on silk, painted in colours. Size,
64 x 4.
View of Mount Fuji.
Painted by Ka-no TAN-YU at the age of sixty-seven.
多
 KANO SCHOOL. 317

Signed 也 DO- TAN-YU-SAI， Seal. Seventeenth century

(1668). .
1461 to 1468. Aset of eight unmounted drawings, on silk, painted
in monochrome. Size, 6{ x 6}.
Landscapes.
Sketched in the most rapid style. The most suggestive of the
number are a marshy landscape over which a flight of birds are
seen passing through the misty air, and a rain scene, showing the
blurred outlines of the mountains and trees through the downpour
of the semi-tropical storm.
Painted by Ka-no Té-un. Signed YEKI-SHIN (MASU-NOBU).
Seal. Seventeenth century.
1469 to 1476. A set of eight unmounted drawings, on silk, painted
in monochrome. Size, 7 x 6.
Landscapes.
Sketched in the same manner as the preceding.
Painted by Sapa-yosut. Signed. Seal. Seventeenth
century.

1477. Unmounted drawing, on silk, painted in monochrome. Size,

14 x 10.
Chung Kwei riding upon a Lion. (See No. 687.)
The calligraphic treatment of the animal is very noteworthy.
Painted by To-atoxv. Signed. Seal. Highteenth century.
1478. Unmounted drawing, on silk, painted in monochrome, Size,
BL x 54.
View of Mount Fuji.
Painted by Ka-no Hiro-nosu. Signed. Seal. Highteenth
century.

1479. Unmounted drawing on silk, painted in colours. ‘ize,

53 X Of.
Chinese landscape.
Lake and mountain scenery.
Painted by Tan-xa. Signed. Seal. Highteenth century.
1480 to 1514. A set of thirty-five unmounted drawings, on paper,
painted in colours. Size, 115 x °17z.
Designs for lacquered saddles.
Painted by Ka-no Yt-n0. Signed. Seal. Eighteenth
century.
318 JAPANESE PICTORIAL ART.

1515. Unmounted drawing, on silk, painted in colours. Size,

14% x 214.
Hachimantaro watching the flight of wild geese.
Artist unknown. Seal. (TaN-HO ?). Eighteenth century.
When Hachimantard (see No. 1875) was marching against Kanazawa
during the war with Takéhira, he spied a flight of wild geese suddenly
change their intention of settling on the ground, and resume their flight.
Remembering that his mentor Masafusa had once told him that such an
occurrence was an indication of the presence of an enemy lurking in
ambush amongst the grass, he divided his force in such a manner as to
surround the spot. The precaution was rewarded by the discovery and
easy defeat of a body of three hundred soldiers. (H-hon Koji-dan,
vol. vi.)

1516. Unmounted drawing, on silk, painted in colours. Size,

217 x 133.
The Sixteen Arhats. (See p. 46.)
Painted by Ka-no Cut-suiy. Signed Hd-aun NAGaA-HIDZ
CHI-SHIN To-moxu-sar. Nineteenth century.
1517. Unmounted drawing, on paper, painted in colours. Size,
452 x 833.
Chinese children at play.
Picture originally painted upon a screen.
Painted by Ka-no Kapzu-nosu. Signed Hoxx1d Kanzv-
NOBU。 Seal. Nineteenth century.

1518 and 1519. A pair of unmounted drawings, on silk, painted in

colours. Size, 46} x 251.
Peacock and Argus Pheasant.
Painted by Ka-no HAKU-YEN。 Signed I-sen HAKU-YEN.
Seal. Nineteenth century.
1520. Unmounted drawing, on silk, painted in monochrome (red).
Size, 8 x 52,
Chung Kwei. (See No. 687.)
Painted by Ka-no Toxi-nosu. Signed Sxd-zan Fusi-wara
no Toxt-nNosu. Seal. Seventeenth century.

1521. Unmounted drawing, on silk, painted in. colours. Size,

De Xt.
4
Chinese Sages.
Artist unknown. Seal. Nineteenth century.
 KANO SCHOOL. 319

1522. Unmounted drawing, on paper, painted in colours. Size,

192 x 544.
Chinese scene. Amusements of the learned.
Executed in decorative style. Removed from a small screen.
Painted by Ka-no Kwan-suin. Signed Fusi-wara no
Kwan-suin. Seal. Nineteenth century.
1523 and 1524. A pair of unmounted drawings, on silk, painted
in colours. Size, 393 x 143.
Ancient Chinese warriors.
Painted by Suin-ser I-ser, Signed. Seal. Highteenth
century.
1525. Unmounted drawing, on silk, painted in colours. Size,
312 x 141.
Carp leaping from the waves.
Painted by SHIN-SEI I-sur Signed. Seal. Highteenth
century.
1526. Unmounted drawing, on paper, painted in colours. Size,
247 x 484.
Chinese landscape.
Painted by To-rer Nori-nopu. Signed. Seal. Nine-
teenth century.
1527. Unmounted drawing, on silk, painted in colours. Size,
424 x 174,
Court nobles in retirement.
Probably a scene from the Genji Monogatari. Drawn in the
style of the Yamato school. Unfinished.
Painted by To-rer Nori-Nopv. Signed. Seal. Nine-
teenth century.
1528. Unmounted drawing, on paper, painted in colours. Size,
663 x 13%.
Cranes.
Painted by Ka-no Sei-suz. Signed Szr-suz. Two seals.
Nineteenth century.
1529. Unmounted drawing, on silk, painted in colours. Size,
433 x 23.
The spirits of the pine-trees of Sumiyoshi and Takasago.
(See No. 486°)
An aged man and woman standing beneath a pine-tree, the man
320 JAPANESE PICTORIAL ART.

holding a, bamboo rake, the woman a fan. A sacred tortoise with

young is at their feet, a stork has nested amongst the branches of
the pine, and its mate is seen flying through the air across the face
of the sun. The emblems of longevity are completed by the plum-
tree and bamboo.
Painted by Szr-sur. Signed Sut-sur Yo-xd. Seal. Nine-
teenth century.
1530. Unmounted drawing, on silk, painted in colours. Size,
432 x 173.
Chinese landscape.
Mountains and lake. Moonlight.
Painted by Sur-suz. Signed. Seal. Nineteenth century.
1531. Unmounted drawing, on silk, painted in colours. Size,
434 x 172. 7
The Wife and Husband Rocks (Midto-Séki) of Futami
ga Ura.
Painted by Ser-svr. Signed. Seal. Nineteenth century.
The ‘Midto-Séki’ are two curious rocks close to the shore of Futami.
They stand side by side, rising like twin giants high above the waves, and
are joined together by a band of straw rope which is believed to act as a
talisman against evil influences of all kinds.
The use of astraw rope as a charm against disease and aes ills is said
to have originated at Futami. According to a local legend Susand no
Mikoto, when belated near the place, was "adopted by a peasant named
Somin. To reward this act of hospitality, the god foretold the approach
“of a plague, advising his host to wear a belt of twisted grass as a protective
against the disease, and to fasten a straw rope across the entrance of his
house. The plague arrived, and the family of Sdmin alone escaped.
Susané is also said to have installed the whole company of the gods in a
niche on the seaward side of the larger rock. (See Satow and Hawes’
‘ Handbook for Japan,’ p. 150.)

1532 and 1533. A pair of unmounted drawings, on silk, painted in

colours. Size, 603 x 341.
Summer and winter birds and flowers.
The summer is represented by ducks and peonies, the winter by
pheasants and plum and camellia blossoms.
Painted by Ka-no Sxd-sen. Signed Sud-sen Ho-cun.
Seal. Nineteenth century.
1534, Unmounted drawing, on silk, painted in colours. Size,
16% x 22.
Yoshitsuné and Benkei. (See p. 116.)
Yoshitsuné, who is reduced to pigmy dimensions, has leaped
upon the broad biade of Benkei’s spear.
 KANO SCHOOL. 321

Painted by Ka-no Sxo-sen. Signed SHEO-SEN Hod-cen.

Nineteenth century.
1535. Unmounted drawing, on silk, painted in colours. Size,
214 x 37.
Szema Kwang (Jap. Snipa Onxo) breaking the water
vessel.
A child while playing has fallen into a large jar of water. Most
of his companions stand terrified and helpless, but the little hero,
Szema Kwang, dashes in the side of the vessel with a large stone,
giving vent to the water, and thus saving his playmate from
drowning.
Painted by Ka-no SHO-SEN. Signed SHO-SEN HoO-cEn
Masa-nosu. Seal. Nineteenth century.
Szema Kwang was a famous statesman and author of the eleventh cen-
tury (a.D. 1009-1086). The incident which forms the subject of the
picture is related as an example of precocious readiness of resource.

1536. Unmounted drawing, on silk, painted in colours. Size,

37h x 128.
Chinese landscape.
Mountain scenery with waterfall. In the foreground is seen a
personage on horseback admiring the prospect.
Painted by Ka-no Suo-szn. Signed SHO-SEN HoO-ceEn.
Seal. Nineteenth century.

1537 to 1539a. A set of four unmounted drawings, on silk, painted

in colours. Sizes various.
Chinese Scenes.
1. The manufacture of an ideographic decoration.
2. Hunting scene.
3. Rice cultivation.
4, Mirror sellers’ children at play.
Painted by Ka-no TO-UN， Signed. Seal. Seventeenth
century.

1540. Unmounted drawing, on silk, painted in colours. Size,

392 xX 174,

Hotei and children. (See p. 37.)

Painted by Ka-no SHO-SEN， Signed SHO-SEN Ho-GEN
NAKA-TSUKA No Kid. Seal. Nineteenth century.
322 JAPANESE PICTORIAL ART.

1541. Unmounted drawing, on silk, painted in colours. Size,

34k x 133.
Méng Tsung discovering the bamboo shoots in winter.
(See p. 173.)
Painted by Tan-x0-sar GH-SHIN。 Signed Tan-x6-sar SHIU-
GEN Minamoto no Gi-suin. Seal. Nineteenth century.
1542. Unmounted drawing, on silk, painted in colours. Size,
441. x 17.
Hachimantaro on horseback. (See No, 1375.)
Painted by TAN-SEN-SAI SHIN-BUN。 Signed. Seal. Nine-
teenth century.
1543. Unmounted drawing, on silk, painted in colours. Size,
492 x 22.
The Four Accomplishments.
A party of Chinese men of learning occupied in writing, music,
chess, and the criticism of pictures.
Painted by TAN-GEN-SAI Monrt-rsunt. Signed. Seal.
Nineteenth century.
1544 and 1545. A pair of unmounted drawings, on silk, painted
in colours. Size, 433 x 172.
Landscapes.
Mountain scenery. Morning and evening.
Painted by Tan-cen-sar Mori-rsunt. Signed. Seal.
Nineteenth century.
1546. Unmounted drawing, on silk, painted in monochrome. Size,
483 x 181.
Chinese landscape, with Chu-ko Liang (Jap. 及 0-MEI)
receiving visitors. (See No. 846.)
Unfinished.
Painted by Mori-rsuné. No signature or seal. Nine-
teenth century.
1547. Unmounted drawing, on silk, painted in colours. Size,
37% x 13%.
Female Rishi on Phoenix Lao-yu (Jap. Roatoxv).
Cclouring in the style of the Ming dynasty.
Painted by Mort-masa. Signed TAN-YEN-SAI H6-cEn
Mori-masa. Seal. Nineteenth century.
 KANO SCHOOL. 323

1548. Unmounted drawing, on silk, painted in colours. Size,

: 504 x 198.
The Three Wine Tasters. (See No. 1719.)
Three personages, typifying Buddhism, Taoism, and Confucianism,
are tasting a brew of saké, and each is shown by the expression of
his countenance to be affected by the beverage in a manner peculiar
to himself. 'The jar bears the brand Dai-ichi-jo, or “ Best quality.”
Painted by Ka-no TATSU-NOBU after a picture by Ka-no
Masa-nosu. (Fifteenth century.) Signed Yer-sain 了 oor-
WARA NO 工ATSU-NOBU。 Seal. Nineteenth century.
The object of the picture is to show that although the forms by which
religions are expressed differ widely in kind, they are all the result of a
common inspiration; or that the same religious principle, passing through
the minds of different apostles, may become translated in various ways,
according to the idiosyncrasies of its promulgators.

1549. Unmounted drawing, on silk, painted in colours. Size

401 x 14}.
Kin Kao. (See No. 794.)
Painted by Ka-no Tarsv-nosu. Signed YEPI=SHIN Tarsu-
nopu. Seal. Nineteenth century.

1550 and 1551, A pair of unmounted drawings, on silk, painted

in colours. Size, 434 x 1732.
Chinese landscapes. |
Painted by Tan-nit Mori-tama. Signed. Seal. Nine-
teenth century.
1552. Unmounted drawing, on silk, painted in colours. Size,
403 x 122.
Egret and lotus.
Painted by Tan-yEn-sat Mori-zanu. Signed TAN-YEN-SAI
Ho-cren. Two seals. Nineteenth century.
1553. Unmounted drawing, on silk, painted in colours. Size,
463 x 164.
Lion and waterfall.
A conventional lion of azure colour standing beneath a cascade.
“Painted by Mort-zanéi. Signed TAN-YEN-SAI H06-cEn
MoORI-ZANE. Seal. Nineteenth century.
The Lion is dignified with the title of “The King of Beasts ” in China and
Japan as well asin Europe. It is related that the Emperor Shao Ti of
y¥ 2
324 JAPANESE PICTORIAL ART.

the Wei dynasty, having received a present of a lion from a foreign country,
put the royalty of its nature to the test by bringing before it two tigers and
a leopard, which at once, by drooping tail and closed eyes, confessed their
inferiority :and when a blind bear was led forth, the mere scent of the lion
was sufficient to make it break its chain and take refuge in its den, quiver-
ing with terror.
An old Chinese book asserts that the lion can run five hundred 7 in
a day, and at the sound of its roar the other animals burst their brains
and die; but powerful though it be, there is a little creature shaped like
a badger that, by leaping on to the head of the lion, makes the monarch
sink helpless to the earth and perish where it falls.
The lion of the artist is by no means a formidable beast, despite its big
eyes and fierce countenance. It is usually depicted with beautifully-curled
mane, disporting amidst huge peony flowers or indulging in kitten-like
gambols with a Sacred Gem; as harmless as its pictorial brother in Euro-
pean Heraldry, and offering even less resemblance to the real “ Monarch
of the Forests.”
In Buddhist pictures the lion appears as the emblem of S’akyamuni.

1554. Unmounted SS on silk, painted in colours. Size,

163 x 34%.
Shinto temple.
Painted by Ka-no Kut-szen. Signed Ka-no Ho-cen Kar-
seN. Seal. Nineteenth century.
1555. Unmounted drawing, on silk, painted in colours. Size,
44 x 18.
Chinese children at play.
Coloured in the later style of the school.
Painted by 了 AN-SHO-SAI。 Signed. Seal. Nineteenth
century.

1556. Unmounted drawing, on silk, painted in colours. Size,

18} x 281,
Li Peh (Jap. Rimaxv) beside the cascade of the Lii
Mountains.
Painted by Tan-nit Mori-rani. Signed TAaN-RIv-sar,
Seal. Nineteenth century.
Li Peh, or Tai Peh, is described by Mayers as the most widely celebrated
amongst the poets of China (A.D. 699 to 762). It is said that the Emperor
Hiian Tsung, wishing to show respect for his literary eminence, not only
directed the favourite concubine of the Imperial harem to hold his writing
materials, but served him at table with his own hands ; and when the bard
had become intoxicated by a too free use of the wine-cup, his boots were
removed by the privy councillor. Subsequently, however, a satirical
allusion in his verses offended the chief concubine, and by her influence his
progress was intercepted, ‘‘ He led for the remainder of his life a wander-
 KANO SCHOOL. oD)

ing existence, celebrating in continual flights of verse the praises of

Bacchanalian enjoyments and of the beauties of nature in the various
localities he visited ” (Mayers).
His poems were collected and edited by a kinsman under whose pro-
tection he remained until his death.
The famous cascade of the Lii mountains formed the subject of one of
his writings. It has been likened in an ancient composition to a piece of
silk woven by angels, and carried down to the mountain by a breeze from
heaven.
Li Peh is frequently represented in pictures in a state of drunkenness,
It must be remembered that over-indulgence in wine was regarded in the
old days of China merely as an amiable weakness that was by no means
incompatible with the full preservation of self-respect and the esteem
of others (see E-hon Rid-zai, vol. ix.).

1557. Unmounted drawing, on paper, painted in colours. Size,

702 x 31.
Kii Ling-jin (Jap. 及 oOREIITIN).
A sage accompanied by a tiger. Mountain scenery.
Artist unknown. Seal. Nineteenth century.
Kii Ling-jin is described as one of the Hight Sennin, a rishi of marvellous
powers, whose favourite associate was a white tiger. He is not included
in the Ressen zen den, and the legends attached to his name have not
been discovered.

1558 to 1569. A set of twelve unmounted drawings, on silk,

painted in colours. Size, 493 x 153.
Sages and Rishis.
1. Sage watching the flight of a wild goose.
2. Su-she (Jap. Toba). See No. 824.
3. Li Peh (Jap. Rihaku) by the waterfall of the Lii Mountains
(see No. 1556).
4. Chung Kwoh (Jap. Chikwaro). See No. 1460.
5. Mei Fuh (Jap. Baifuku).
A sage playing upon a reed instrument, with a crane by his side.
Mei Fuh was a Taoist patriarch, who lived in the first century B.c. Dis-
gusted with the license of the times, he resigned his office as governor to
Nan Ch’ang, and retired to the mountains of the south, where he attained the
knowledge of the secrets of the Rishi. ‘ Having drunk the magic elixir he
revisited his native place, Show Ch’un, whence shortly afterwards he was
caught up to heaven upon a gorgeous Lwan bird attended by a bevy of
celestial youths and maidens.” (Mayers’ ‘Chinese Reader’s Manual,’
p- 1, No, 487.) In Japanese drawings he is represented either riding away
upon the Phoenix, or as in No. 5 of the present series.

6. Tung Fang So (Jap. Tobdsaku). See No, 615.

7. Ch’én Nan (Jap. Chinnan) evoking a dragon from a bowl of
water. (See No. 795.) ‘
326 JAPANESE PICTORIAL ART.

8. Chow Mao Shuh (Jap. Shumésniku) gazing upon the. lotus

pond. (See No. 1313.)
9. Ki Lingjin (Jap. Koreijin) riding upon a tiger. (See
No. 1557.)
10, Jurdjin. (See p. 44.)
11. Keuh Tsz Tung (Jap. Kiku Jido).
Keuh T'sz’ Tung was a youthful favourite of the Emperor Muh Wang
of the Chow dynasty (died 947 B.c.). Having on one occasion offended
against the etiquette of the Court by touching the Emperor’s pillow with
his feet, the officials demanded that the crime of léze-majesté should be
punished by banishment or death. The Emperor was forced to pronounce
a decree of exile, but, pitying the boy, taught him a magic sentence received
from S’akyamuni, the utterance of which ensured protection from evil and
conferred the gift of long life. Jido in his mountain retreat passed his
time in writing the characters upon the leaves of chrysanthemums that he
might not forget the mystic sounds, and so powerful was the charm that
the dew which washed away the potent inscriptions derived from them the
virtues of an elixir (“ Furo-fushi no Kusuri,” a medicine to drive away
age and death); whence the people who lived near the place attained
extraordinary longevity—even to the span of eight hundred years.
The introduction of the name of S’A venturi is not an anachronism
according to Chinese chronology.
12. Chang Kiuko (Jap. Chochiuka) converting fragments of his
clothing into butterflies.
Chang Kiuko was a Rishi who lived under the Sung dynasty. The
Emperor once observed that he always wore thin clothes, and asked
the reason; upon which the: sage cut off pieces of his garments with
a pair of scissors, and the fragments as they were detached became con-
verted into butterflies, fluttering around his head until he clapped his
hands, when they immediately resumed their form and position as parts
of his attire.
Artist unknown. Nineteenth century.
1570. Unmounted drawing, on paper, painted in colours. ' Size,
68 x 38,
Kwan Yii on horseback. (See No. 218.)
Artist unknown. Seal. Nineteenth century.
1571. Unmounted drawing, on silk, painted in colours. Size,
333 x 123,
Hwang Ngan (Jap. Koay).
An aged Rishi borne upon the waves, on the back of a Sacred
Tortoise.
Artist unknown. Nineteenth century.
1572. Unmounted drawing, on silk, painted in colours. Size,
44> x 163.
Shojo masker.
 KANO SCHOOL. 327

An actor with a mask representing a boyish face reddened by

over-indulgence in saké, and overshadowed by long, straight red
hair. (See No. 645.)
Artist unknown. No signature. Seal. Highteenth
century.
1573. Screen, paper, painted in colours. Size 71 x 147.
Chinese landscape.
Picturesque rural scenery. In the foreground are seen rustic
buildings, in which a number of peasants are engaged in tea-sorting
and other occupations.
The outlines are rapidly sketched in ink, and the local tints
are indicated by light washes of colour. The picture is a good
example of the Usu-zaishiki, or thinly coloured painting, a style
which the early artists of the Sesshii, Chinese, and Kano schools
had adopted from the masters of the Sung and Yiien dynasties.
Painted by Ka-no Yasu-nozv. ‘Two seals. Seventeenth
century.
1574. Album of pictures, on silk, painted in colours. Size,
14 x 10}.
The Twenty-Four Paragons of Filial Piety. With
explanatory text. Twenty-four drawings. (See p. 171.)
Attributed to Ka-no To-un. No signature or seal.
Seventeenth century.
1575. Album of sixteen drawings, on silk, chiefly in monochrome.
Size, 8 x 123.
Birds, flowers, &c.
Artist unknown. Seal. Eighteenth century.
1576. Album of drawings, on paper, painted in monochrome and
~ colours. Size 102 x 7%.
Rough sketches; originals and copies.
A practising sketch-book. Such collections were very numerous,
butrarely possessed any great intrinsic value, as the majority of
the drawings were merely copies from the works of well-known
artists, repeated until the pupil had acquired the necessary power
of touch.
Artist unknown. Nineteenth century.
See also Nos. 227, 287, 282-3, 335-40, 638, 686, 957, 2855,. 2856,
and ‘Copies from Chinese,” 155-161.
328 JAPANESE PICTORIAL ART.

POPULAR SCHOOL, OR, UKIYO-YE RIU.

一 一 一和 一 -一

As a comparatively modern phase of Japanese art, presented

chiefly through the medium of the wood engraver, and having no
claim to reflect the noblest aspects of the pictorial genius of the
country, the popular school has hitherto met with little considera-
tion and less encouragement at the hands of native connoisseurs.
For the foreigner, however, the wealth of new ideas it has unsealed
in decorative ssthetics, the immense variety of motives and ap-
plications it has gathered together from all sources, and, above all,
its easy accessibility for purposes of study outside Japan, demand
for it a wider notice than could be allotted to any of the more
classical and cultivated academies from which its leading principles
were drawn.
The motives of the school were by no means limited to the scenes
of common life, to which its name* and individuality were originally
due, but embraced all that had been utilized by its predecessors,
from Buddhist divinities to Toba caricatures. The chief subjects
adopted or evolved by the new men, however, were designs for wood-
cut illustrations to printed volumes of history, legend, or fiction;
portraits of noted actors, wrestlers, geishas, and courtesans, mostly
reproduced by chromoxylography ; scenes of domestic and out-door
existence amongst the humbler classes; comic drawings of an un-
conventional type, distinct from that of the Toba-yé; native scenery,
chiefly in the form of single sheet chromoxylographs and illustra-
‘tions to guide books for the provinces and great cities; books of
instruction in drawing, including both original sketches for imitation

* The term “ Ukiyo-yé” now signifies “ worldly,” or popular pictures. Ukiyo

as originally written had a Buddhistic meaning, as “ this miserable world,” but the
depreciatory sentiment of religious pessimists has faded away, and the characters at
present used may be interpreted simply as the “ passing world.”
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 329

and also skilful reproductions of works by the old masters of China

and Japan; complimentary picture cards printed for circulation at
the New Year; play-bills for the theatres; and, lastly, books of
patterns for embroiderers, dyers, pipe and comb makers, and other
labourers in the field of art industry.
The illustration of the literature of biography, history, and
fiction dates from the earliest days of the Yamato school, but it was
not until the seventeenth century that the elaborate pictorial rolls
of the old artist nobles of the Mikado’s court were supplemented
by something within reach of the less wealthy classes. Not later
than 1608 commenced the publication of the “ E-hon,” or picture-
books, which were destined to bring into play striking talents of
a new order from the previously unrecognised body of artisan
draughtsmen. The earlier examples, as might be expected, were
rough and unskilful as specimens of wood engraving, and presented
little that was worthy of remark in point of design; but about
1680 an almost sudden advance took place, when a dyer’s draughts-
man in Kioto, named Hisaicawa Moronozv, began to publish a
series of remarkably vigorous and original sketches, worthily trans-
ferred to wood by men who probably worked under the immediate
direction of the artist. From this period, which may be regarded
as an epoch in Japanese art, the artisan artist and the wood
engraver have laboured together with a perfect sympathy, and their
joint productions may fairly claim a place apart, and one of the
most prominent, in the history of xylography.
Moronosv was the first of a long and talented line of book
illustrators, amongst whom may be named, the Toriis, Kryomrrsv,
Kryotsunt, and Kryonaga; ‘Tomrkawa Grvnsetsu; ‘TACHIBANA
MoRIKUNI; SHIMOKAWABE Jr0sur, NisHrkawA SUKENOBU and Tsvu-
KIOKA Taneé, in the eighteenth century; and TISHIDA Grioxvuzan,
Uragawat Toyonrro, Uracawa Toyoxunt, and 下 ATSUSHIKA Hoxusat,
who worked at the end of the last and during the opening years of
the present cycle.
The early popular artists, including Moronosv, frequently imitated
Kano Sanrakv, the Hasiaawas, and the Karsoxus in representing
the brave deeds of native heroes; and a few, like Tsuxtoxa Tanek,
were chiefly known by their power in drawings of this sort. The
more modern leaders of the school in adopting the same motive,
which appeared to be keenly relished by their peace-loving
330 JAPANESE PICTORIAL ART.
patrons, vulgarized it by importing into the effigies of their warriors
the grimaces and exaggerations of the stage. The Yoshitsunés and
Hachimantaros, in the drawings of Kursar Yutsen and his fellows,
always seemed to be playing to the gallery, and there is no doubt
that this unintentional burlesque of martial nobility aided greatly
in securing for the later Ukiyo-yé the disregard of educated art
connoisseurs.
In the portraiture of actors in character the popular artists had
no predecessors and were in no danger of rivalry by the older |
academies, the members of which regarded the stage and all things
appertaining as beneath their notice. Even amongst the plebeian
painters the social position, or rather the absence of social position,
of the actor sometimes brought upon the theatrical section of the
Ukiyo-yé a pseudo-patrician contempt, and a few draughtsmen who
devoted their pencils to perpetuating the graces of tea-house girls
and courtesans, chose to consider they would dishonour their art °
by employing it in the portrayal of the impersonations of the
Garricks of the drama. Nevertheless, Japanese chromoxylography
and the Yedo and Kioto stage were inseparably connected: the
most beautiful colour prints in Japan, and perhaps in the world,
were the likenesses of players of male and female parts, com-
menced by Tori Kryonosu about 1700, and brought to perfection
by Tort 及 IYONAGA and 玉 ATSUGAWA SHUNSHO seventy years later.
Play-bill designs and stage scenery were in the hands of a lower
grade of painters, but theatrical signboards were often executed
by artists of repute.
Another set of artists, intimately associated with those last
named, applied their talents to the delineation of women, by more
or less individualized portraits, or by impersonal and somewhat
insipid representations, and did considerable injustice to the
attractions of their gentle countrywomen in works that were
sometimes of high artistic merit. The names of NISHIKAWA SUKENOBU，
Suzux1 Harunosv, Yersa1, and 了 ITAWO Masanosv are especially
distinguished in this section of popular motives.
A new school of comic drawing, free from the extravagant
mannerism of the Toba-yé, was introduced by a contemporary
of Moronosu named HANABUSA Ircud, who, however, did not draw
for the engravers. His style was made more widely known two
or three generations after his death by the publication of several
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 331

collections of engravings of his sketches, and has been followed

by many workers in the present century..
Woodeut representations of native scenery began to appear from
the end of the seventeenth century, but reached their highest
development about 1790, under TAKAHARA SHUNOHOSAT and a genera-
tion later under Hasficawa Serran, the artist of the Yédo Meisho
dzu-yé. Single-sheet pictures (Ichimai-yé) of famous places were
brought to great perfection under Hoxvusar and Hmosuict before
the middle of the present century.
Books designed to aid in the self-instruction of young artists ，
were issued in considerable numbers from the beginning of the
eighteenth century by TACHIBANA Morixunt, Kursar MASAYOSHT，
Saxurar Surizan, O-oxa SHUNBOKU, and many other members of
the old and new schools. The two last-named imitated Moronosu
in reproducing celebrated pictures by the old masters of China and
Japan in cheap albums of woodcuts.
The custom of circulating pictorial New Year’s cards is said to
have arisen about 1765, and all the resources of chromoxylographic
skill were employed by Hoxusar and his associates in the execution
of these works,
Lastly, the publication of printed collections of designs for
artisans of various callings was initiated early in the last century,
as exemplified in the Tokiwa-gi (1700), the Tokiwa hinagata by
TAKAGI Kosuxié (1732), the Makiyé daizen by Hoxx10 Haruxawa
(1759), &c., and was aided more recently by Hoxvsat, in the Ban-
shoku dzu-ké and other works, and by Horrsv, who directed the
reproduction of a large series of the invaluable designs of OGATA
Korn (see Korin School).

The art motives of the schools of painting in existence before the

sixteenth century included little or no reference to the actual life
of the dwellings, streets, and pleasure resorts of the great cities;
but such an inexhaustible field of ideas could not always remain
untilled. The earliest attempt to found a popular school dates
from the beginning of the seventeenth century, and the first painter
who made a speciality of subjects drawn from his immediate sur-
roundings was an offshoot of the most formal and aristocratic
academy in the country.
Iwa-sa Mara-net, the reputed originator of the Ukiyo-yé or
332 JAPANESE PICTORIAL ART.
popular pictures, was the son of a follower of the regent Nobunaga,
named Araki T'su no Kami, who was sentenced to commit harakiri
for rebellion against his lord. He became a pupil of Tosa Mrrsv-
SHIGE, and appears to have learned thoroughly the art-lessons of his
school ; but, after the close of the sixteenth century, he detached
himself from the Tosas, and began to apply his powers of brush
to the delineation of caricatures and scenes of ordinary life,
It is difficult to form an opinion of his ability and influence,
for the available biographical details are as scanty as the existing
examples of his handiwork. We are indeed forced by lack of original
material to study the earliest phase of the popular school in the
productions of the revivalists of his style, led by Hisntgawa Mono-
NOBU， The specimen in the collection merely shows that his
manner of drawing and colouring resembled that of the Tosa line;
but other existing works, attributed to his brush, one of which is in
the Ernest Hart collection, tend to support the statement made by
native writers, that the Ukiyo revival of the latter part of the seven-
teenth century, to which reference will presently be made, was in
direct imitation of the example of Mavauet.
As a caricaturist his reputation has been handed down, very
unworthily, by rough sketches called Otsu-yé, specimens of which
are still to be obtained at Otsu near Kioto, and are said to represent
his manner. They have, however, little claim to notice beyond that
accorded by their assumed descent.
Uxtyo MATAHEI，ag he was called, left no active successors to
maintain the effect of his precedent, and his death was followed by
an almost complete hiatus in the history of the school. A few
painters contributed some works to popular art, including Krra-mura
Curv-ser, and Yama-moro RI-HEI (fl. 1624-44), Tsust-mura Mo-ne1
(fl. 1644-61), Ino-vyi Kan-per (fl. 1661-73); but it was left for
HisHI-GAWA Moro-nosv, or Kicut-pet, a native of Hoda, in Boshiu，
originally a designer for dyed robes and embroideries, to build up
the school upon a lasting foundation. A master of the pencil, an
original observer, and a most indefatigable worker, he could not
fail to succeed, and his success was rendered more permanent than
that of his predecessor, by his judgment in having recourse to the
aid of engraving to multiply and disseminate his works. He was,
in fact, the first artist of any repute who made a speciality of book
illustration, and no small portion of his fame should rest upon
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 333

the important A he thus rendered to the progress of the art of

pictorial wood-cutting, which, before his time, had been in a very
rudimentary state. The first sign of the remarkable powers of
the Japanese engravers showed itself in the forcible, though still
somewhat rough illustrations in the numerous books of Moronosv,
the execution of which was probably carried out under the direction
of the artist himself. —
As an artist, the vigorous individuality manifested in all his
designs, his refined sense of colour, and his wide range of motive,
signalize him as one of the most striking figures in the history of his
school. He moreover led the way for his successors in the Ukiyo-yé,
not only as an exponent of contemporary life, but in the interpreta-
tion of fiction, poetry, and sentiment, and his works are free from
the vulgarity that tainted the productions of many of the best repre-
sentatives of the school in later times. As a recorder of the
manners and costume of. his period, his labours are of considerable
interest to the student of Japan. The life that he has set forth
was, for the most part, different from that which Hoxvsar and his
artisan followers have so faithfully mirrored in the present cen-
tury; for although traders, artisans, and coolies were introduced
freely into his pictures, they rarely came upon the scene except as
instruments or accessories of the existence of the two-sworded Corin-
thian Toms and Jerry Hawthorns of whom he was the artistic
Pierce Egan. His sketches display a phase of existence which the
foreigner can see only through Japanese eyes. The gilded youth
of a couple of hundred years ago, adorned with the moustachios
and mutton-chop whiskers of an ephemeral fashion; the habits and
amusements of their picturesque but very questionable associates ; and
the curious entowrage of their haunts of pleasure, all appear with-
out disguise, but without indelicacy, and form a good complement
to the formalities and vapidities of the Court life, as depicted by
the Tosa school, and to the hearty, almost childish enjoyments of the
people, as witnessed on any public merrymaking of to-day, or seen
in the pictures of Taxanara SHUNCHOSAI and Hastaawa SETTAN。
He died in the period Shotoku (1711-1716), at the age of
about 67.
The following is a list of the principal books in the collections
of Mr. Satow and the author, containing his illustrations reproduced
in woodcuts,
 334 JAPANESE PIOTORIAL ART.
Iwaki é-dzukushi. Pictures of social life. 1682.
Koi no Uta Kagami. Illustrations to amatory poetry.
Signed “ HIsHI-GAWA Yana-yE.” 1683.
Bijin é-dzukushi. Drawings of beautiful women. 1683.
Kokon Bushido é-dzukushi. Scenes in the lives of Japanese
warriors. 1685.
Yama-san-nasaké no Kayoi-7. Story of fast life. 1685.
Yoket tsukuri-nwwa no dzu. Sketches of landscape gardens.
1691.
Sugata-yé liakunin isshiu. Scenes of social life. Occupations
of women. 1695. .
Kakémono é-dzukush. Copies from kakémonos. 1701.
Koi no mina kam. “The Springs of Love.” N.D.
Yamato-yé dzukushi-bon. Scenes in Japanese story. N.D.
Ko-koku hiaku-jo. N.D. |
Yamato no Oyosé. Scenes of social life. N.D.
To these may be added the following titles quoted from the
Ukiyo-yé rii-ko.
Hiaku-nin shia. 1680.
Yamato shino é-dzukusht. 1684.
Shoshokw é-hon kagame. 1686.
Tokaidé meisho-shi. (6 vols.) 1687.
Tsukinami no asobt. 1686.
Isé monogatari.
Koshoku Yédo murasakt.
Wakoku hiaku-jo. (8 vols.) 1690.
Yumé no wranai é-dzukusht.
Ehon Yamato-zwmi. (8 vols.)
Ukiyo hiakunin onna.
Wakokw meisho kagamt.
And many others, concerning which no information can be obtained,
were also printed in the periods of Tenwa and Jokid (1681-1688).
The more intimate associates of Moronosu in the development of
the Ukiyo-yé were his brothers Moro-rusa, Mori-suie#, and Mort-
naGA, and two pupils named JSHI-KAWA Iza1-yimon To-surv-x1, and
Suai-mura JIT-HEI Masa-Taxa, who were probably the authors of
most of. the unsigned book illustrations which appeared between
1680 and 1710. A second MoRo-NOBU is also mentioned.
 POPULAR. SCHOOL, OR, UKIYO-YE RIU. 335

By the side of HIsHIGAWA Moronosu must be placed a wholly in-

dependent contemporary artist who aided importantly in the advance
of the school. Taca Cu6-K6, better known by one of his many
noms de pinceau, Hana-susa Irond, was the son of a physician in
Osaka, and a talented but erratic pupil of Kano YASUNOBU。 The
source of his education was indelibly stamped upon his productions,
for he has left masterly sketches of sages and genii scarcely dis-
tinguishable from those with which his teachers had already covered
acres of paper and silk; but while retaining the old touch and
methods, he adopted a new.set of motives, in which he appears to
have had no predecessor of ability since Topa S030 Kaxuyt (see
_p. 156). As a colourist he stands in the first rank.
His name was speedily brought into prominence by his daring
and novel creations, and unconventional renderings of subjects which
had hitherto been held almost sacred. As an example of his style
may be noticed a sketch reproduced in the ‘ Pictorial Arts of Japan,’
where we see a travelling priest, who, earnest in belief, has prepared
fire, pan, knife, and even seasoning, and lacking only the meat, now
extends his hands, rolling the beads of his rosary with holy fervour,
towards a plump goose that flies overhead, while the bird, in happy
unconsciousness of what is expected of it, leaves the hungry man to
lament the degeneracy of the animal world since the pre-Buddhistic
days of the pious Hare.* In another drawing, No. 1727, the Thunder
God having brought his noisy circle of drums too near to earth,
‘his loin cloth has been grasped by a blind beggar, who has mis-
taken it for a leading string and pays for his mistake by an aerial
flight, the ultimate destination of which the artist leaves to our
imagination. The ‘Seven Gods of Good Fortune’ also had the evil for-
tune to present considerable attractions for his irreverential pencil,
and in his hands lose every shred of divinity, behaving like emanci-
pated shop-boys, and sharing his page with courtesans and coolies
on terms of perfect equality. He was, however, most at home in
the streets, and appears to have revelled in the vulgar amusements
provided by the peripatetic showmen and mountebanks, who offered
open-air entertainments for the idlers of the great city. It was,
perhaps, his disregard for the conventions that made him obnoxious
* S’Akyamuni is said to have sacrificed himself when in a previous existence as
a hare, that he might assuage the hunger of the disguised Indra, whence the figure
of the animal was drawn upon the moon by the admiring deity (« Folk-lore
Journal,’ vol. ii.).
336 _ JAPANESE: PICTORIAL ART.

to his superiors, for in addition to his early expulsion from the

School of the Kanos he was compelled in the midway of his life to
explate by an eighteen years’ exile to the island of Hachijo a
dangerous liberty which he ventured to take with the domestic
concerns of the Shogun in publishing the portrait of one of his
female favourites amongst a series of drawings of popular beauties ，
of the time. |
Itcu6, unlike Mononosv, did not make a speciality of representing
the social life of his time, nor did he seek to render his works more
widely known by means of engraving. It was nearly forty years
after his death that the first collection of his sketches were repro-
duced in wood, and published in the form of an album; but this
essay was soon followed by others, and at last the number of
volumes amounted in all to over twenty.
His influence upon the progress of the Ukivoyewas less direct
than that of Moronosu, and was exerted without evidence of effort,
or even of desire on the part of the artist to take a prominent place
in the history of the school, but in the end was perhaps almost as
powerful. It is to be feared, however, that the chief characteristic
of his sketches, their wit, can never be fully understood or appre-
ciated outside the people for whom they were drawn.
He died in 1724, at the age of 73, leaving a son named NoBU-
KATSU, and a son or pupil named [rret.
His principal followers were :一
CHO-HAOHI or TAGA CHO-HAcHIRO, named the second Ivrcno.
Flourished in the period of Kichd (1716-1736).
Hana-Busa Ippd. Ippd was one of the go or professional names
of Ircud, and was probably assumed by his disciple as a
respectful tribute to the memory of the master. He died in
1772, at the age of 85.
了 ANA-BUSA St-ser. Flourished 1780-1790.
Hana-pusa St-Koxv. Flourished 1804-1818.
Hana-susa St-cetsu. Contemporary with the last.
Hana-susa Ixxtyo. Flourished 1830-1844.
Hana-susa Ixxer. Contemporary with the last.
Ko St-xer. Lived in the early part of the present century.
The various go or professional titles of IrcHd were IO-UN，
Nosu-Ka, Yasu-w6, Suki-No-suin, Musd-w6, Hoxv-so-wo, Ippo,
Riy-sHo-an, and IKKAN Sangin.
‘i

POPULAR SCHOOL, OR, URKIYO-YE RIU. 337

The name IroHO was first assumed in 1709; that of Hoxv-so-w6

(the Ancient of the Northern Window) on his return from banish-
ment, in allusion to the aspect of his studio window.
The best known albums of wood-cuts from his sketches are :—

Hanabusa Uji gwa hen (8 vols.). 17538.

Hanabusa Itché hiaku gwa (5 vols.). About 1760.
Liché gwa-fu (8 vols.). 1770. Another series (1 vol.) 1773.
Gwa-to setsu miyo (3 vols.). 1774. (Reprinted in 1821.)
Gun-to setsw miyo (3 vols.). 1779.
Gunché gwa-yei (3 vols.). 1772.
Hanabusa Itché kid-gwa (1 vol.). Printed in colours. 18—.

The principal artists of the popular school from the time of Moro-
NoBU, with the exception of IrcHd and Miyacawa Cudsnun, worked
almost entirely for the publishers of books and “ single-sheet
pictures ” (ichi-mai-yé). Their earlier drawings were printed in
black, or in the form of néshzki-yé or colour-prints (lit.: brocade
pictures) the production of which began about the commencement of
the eighteenth century. The following list is fairly complete :一

Kawa-al Kan-setsv. Flourished in the period Genroku (1688-

1716). See 2311-12.
Yama-moto Den-roxu. <A contemporary of the last.
Hasi-cawa Cuxo-soun. A contemporary of the last. 了 Pro-
bably the same as Hasi-cawa To-un, the artist of the
E-hon hékan (1688), one of the oldest volumes of illustrated
legends, and which may have suggested to Tacnrpana NO
MoRIEUNI some years later the plan of the H-hon-kaji-dan.
TISHI-KAWA Rrvu-sen. A contemporary and imitator of MoRo-NOBU.
The artist of Yamato kédsaku yé-sho, a book of agricultural
scenes. He is probably identical with Isut-xawa Iza1-yimon
T6-sHIU-KI, mentioned on p. 334.
MIYA-GAWA OHO-SHUN，8a late contemporary of Moronosv, ranks
after him amongst the leaders of the revived Ukiyo-yé. In
style and motive his works resemble those of Moronosu, and
possess an equal charm of colouring, but he fell much behind
his associate in versatility and power, and contributed nothing
to book illustration. See Nos. 1707 and 1708.
338 JAPANESE PICTORIAL ART.

He was succeeded by his son OHO-KI who worked in the period

Kiohd (1716-1736), and in the caricature roll No. 562 has
left a good indication of his wit and artistic capacity.
Torti Kryo-nopu or Suo-ser. A contemporary of the last.
He ig said to have been the originator of the “single-sheet”
engravings, chiefly of theatrical stars and noted beauties of
the capital, which were published from the end of the seven-
teenth century under the name of Yedo-yé. The style in
which theatrical signboards are still painted is also believed
to have the same origin. He appears to have been the
founder of the theatrical section of popular art, a speciality
untouched by Hisnicawa Moronosu and despised by many
later artists, but which in the hands of Nisamura SHI-
aenaca, Torti Kryonaca, Ipprrsusar Buncnd, Katsuaawa
SnunsH6, Suzuz1 Harunosu, Uracawa Toyoxuni, Krragawa
Uramaro, and a few others, has given us some of the most
perfect specimens in existence of the chromoxylographic art.
Torti Kryo-masu, the immediate follower of Kryo-nosv. He
carried on the style and motives of his predecessor during
the first two or three decades of the eighteenth century, but
did not add materially to the progress of the school.
Oxu-murA Masa-nosu, also called BuN-KAKU， 且 0-GETSU-D0，
TAN-oHo, and O Grn-roxu. A late contemporary of Kryo-
NOBU, and an imitator both of this artist and of H1spicawa
Moronosv. He is known by a number of colour prints
of actors and beautiful women (bijin) in the style of the
former, and some illustrated volumes, after the manner of the
latter. Amongst his books, which were published between
1690 and 1720, two, the Yukei Sennin and the Kinriu-zan
Asakusa sembon zakwra, are in the author’s collection; and
three others, the H-hon shin Yoshiwara sembon zakura, the
E-hon Bijin zuku-toku San-jiu-ni Sd, and the Yi-gwa shiki
are mentioned in the second edition of the Ukiyo-yé rii-ké.
Nisni-mura SHIaE-NAGA。 A well-known imitator of Tonti
Kryonosv. Many portraits of actors and women printed
from four blocks, after his designs, appeared between 1716
and 1748, and under his auspices some advance was made in
the art of chromoxylography.
Kon-né Suxii-aoro Kryo-narv, Noted for drawings of theatrical
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 339

and Yoshiwara scenes, and as an illustrator of books for

children, before the middle of the eighteenth century.
MooHI-DZUKI Kan-suzié. Flourished between 1716 and 1736.
TAOHI-BANA Mort-xunt. One of the most important book
illustrators of the eighteenth century, and noted also as a
calligraphist and as a scholar of wide attainments. He was
the author of a large number of volumes of drawing examples
and illustrations of legends, intended for the instruction of
art pupils and as models for the artisan artist, and ren-
dered by his well-conceived and skilfully-executed designs
a service to the cause of “ artisan art” that would be difficult
to over-estimate. He died in 1748, at the age of 78.
The subjoined list gives the names and dates of his chief works:
E-hon Koji-dan (8 vols.). 1714. Ilustrations to legends.
E-hon Sha-ho bukuro (9 vols.). 1720. Drawing examples and
illustrations to legends.
E-hon Tsit-hishti (9 vols.). 1725. Drawing examples and
illustrations to legends.
Gwa ten tsi ké (10 vols.). 1727. Illustrations to legends.
Wa-cho meisho gwa-dzu (4 vols.). 1732. Illustrations to poetry.
Yokioku gwa-shi (10 vols.). 1732. Illustrations to legends.
Fusé gwa-fu (5 vols.). 1735. Illustrations to poetry.
E-hon O-shuku-bai (7 vols.). 1740. Illustrations to legends.
E-hon Jiki shiha (9 vols.). 1745. Drawing examples.
Umpitsu, So-gwa (8 vols.). 1749. Miscellaneous rough sketches.
An admirable example of the artist’s more rapid manner.
Riaku gwa (3 vols.). 1750. Miscellaneous rough sketches,
Honché gwa-yen (6 vols.). 1782. Illustrations to poetry.
His style of drawing bore considerable resemblance to that of the
Kano artists, of one of whom, Tsurvu-zawa Tan-zan, he is said to
have been a pupil.
He left a son named H6-xoxvu or Yasu-xunt, and a pupil named
Kunio 及 o-TEN-SAI or SU-YA Het-suro, the artist of the Moshi dzu fu.
In certain of his works his name is signed as Tacut-Bana No Brn-a1
and 'Tacui-BANA No YU-YETSU.
NISHI-GAWA SuKE-NoBu, known also as Bun-xKwa-pd and Nisar-
GAWA Uxryo, a native of Kioto (b. 1671), who settled in Osaka, was a
contemporary of MoRIKUNI， He is said to have been a pupil of
z 2
340 JAPANESE PICTORIAL ART.
和
Kano Yutno, and is also claimed as an alumnus of the Tosa school,
but the style he adopted was that of the Ukiyo revivalists and
particularly of Okumura Masanosv, and his skill was chiefly directed
to book illustration. He was especially renowned for sketches of
women and illustrations of social customs, and was the author of
the H-hon, Yamato Hii, a book of illustrated legends, to which he
appended an essay on painting. He does not appear, however, to
have aimed at a reputation as an instructor of artists.
In power and versatility he was inferior to Morrxunt, but within
the narrower limits of his motives his sketches give more pleas-
ure. It was especially in the drawings of the female figure that he
excelled. The young girls who held the place of honour in most of
his pictures were remarkably graceful, and their faces, delicate in
feature, good humoured and innocent in expression, were devoid
both of the exaggerations of traits seen in the works of the later
popular school, and of the shapelessness and inanity which appears
to have represented the older artists’ ideal of beauty; but unfortu-
nately these charming little specimens of Japanese girlhood were
almost all alike, and hardly displayed more individuality than the
ladies in a Paris fashion-plate. Suxiénopu, however, was a man of
mark, and contributed a large share towards the completion of the
work that HisHIGAWA MoRoNOBU had commenced, the elevation of
the practice of wood engraving in Japan to the rank of a fine art.
The greater part of the credit of the improvement is, perhaps, due
to Morrkunt, who added to his other accomplishments a practical
acquaintance with the wood-cutters’ art, and no doubt himself
directed the execution of the blocks upon which his designs were
reproduced.
The following selections of the works illustrated by NISHI-GAWA
Suxi-nozu give the best idea of his powers, but the complete list
would more than treble the number here given.

Haku-nin joré shina sadamé. Sketches of women of all

classes. 1723.
E-hon Tsukuba yama. Japanese poetry. 1730.
E-hon Tama kadzura. Occupations of women. 1786.
E-hon Chitosé yama. Moral maxims. 1740.
E-hon Yamato Hiji. Illustrated legends. 1742.
Ei-hon Kamé no O-yama. Japanese stories. 1747.
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 341

E-hon Fudé-tsu bana. 1747,

Goriu é-hon zoroyé. Miscellaneous sketches. 1748.
E-hon Ohiomi gusa. Occupations of women. 1741.
E-hon Himo kagami. Tllustrations of vers de société. 1755.
L-hon Yoshi no gusa. 3 vols. 1759.
E-hon iké no kawadzu. Tlustrations of social life. 1768.
Harrorr BAI-SHIN， Flourished about the middle of the 18th
century.
K6-xan. The author of a collection of popular sketches entitled
Jimbutsu sd-gwa, published in 1722.
O-oxa Suun-Boxv, called also Boxu-w6 and Ho-cen Suun-Boxv.
A pupil of the Kano school, whose illustrations to legends
and copies from the old masters of China and Japan, engraved
and published in album form in Osaka, formed an important
supplement to the works of Suxinosu and Morrkuni. He
died at the age of 84, between 1751 and 1764.

The principal volumes containing his sketches are as follows :一

Gwa-sht kwai-ys. Copies from celebrated pictures (6 vols.).
1707.
E-hon té-kagant. Copies from celebrated pictures (6 vols.).
1720
Gwa-ké sen-ran. Copies from celebrated pictures (6 vols.).
1740.
Wa-Kan mei-hitsu gwa-yen. Copies from pictures (6 vols.).
1749,
Tanset nishiki-bukwro. Miscellaneous sketches (6 vols.). 1753.
Wa-Kan koji Boku-wé shin-gwa. Tlustrated legends (5 vols.).
1753.
及 oYE-KAWA Suun-ond. A designer of colour prints. Died
1789, at the age of 46.
SAKU-RAI SHID-ZAN or HO-GEN Sari-zAN An artist of the
Chinese school who followed Suun-zoxv in the publication of
copies of the old masters. The Wa-Kan mei-hitsu gwa-yei,
1750; Wa-Kan mei-hitsu gwa-hé, 1764; and the Gwa-sdku,
1777, formed part of the same series as the Gwa-shi kwai-yo,
A female descendant bearing the name of Suri-zan is referred
to in p. 194.
Torii Kryo-mitsv, the son of Kryo-masuv. He maintained the
342 JAPANESE PICTORIAL ART.

style of Kryo-nopu during the middle of the eighteenth

century, and left many clever book illustrations and colour-
print portraits of actors.
SADA-TOSHI， The artist of an album of miscellaneous sketches
called the E-hon ritsu-hé, published in 1752.
Sumo-Kawa-Bi Jiv-sur. Chiefly noted for illustrations to moral
stories in the style of Suxinosu. Flourished between 1765
and 1791.
TSUFKI-OKA Tan-ch, known as 及 IN-D0，RO-JIN-SAI or Masa-nosv.
Noted for drawings of warriors. His different styles are
well illustrated in the E-hon Musha tadzuna. Pictures of
heroic deeds, 1759; H-hon Himé bunkd, “The young lady’s
companion,” 1760; and the Tégoku meisho-shi, Sketches of
scenery, 1762. He died in 1786 at the age of sixty-nine.
IsHI-KAWA Toyo-nosv. A pupil of NISHIXURA SHIGENAGA, and
an industrious book-illustrator and “single-sheet” draughts-
man, He died in 1789.
Suzu-x1 Harv-nosv. Also a pupil of Saiatnaca, who devoted
himself chiefly to an early form of colour-print known as
Adzuma Nishiki-yé or Surimono, a kind of New Year’s card,
printed from five or six blocks, and sold in large numbers at
the beginning of the year. He was noted for drawings of
reigning beauties, but, unlike most of the early Néshiki-yé
draughtsmen, regarded it as beneath the dignity of his art
to produce portraits of actors. His works appeared between
1764 and 1779. His son or pupil, 了HARU-NOBU the Sxconp,
learned to draw in the Dutch style (Ran-gwa).
Torti Kryo-naaa, named also Sixt Suun-suxs, a pupil of Kryo-
mitsu. He surpassed all his predecessors and contemporaries
as a designer of chromoxylographic portraits of actors and
women and as an illustrator of novelettes (1765-1780). His
colour-prints, which are unfortunately very scarce, nearly
reached the limits of perfection in their combined grace of
drawing and purity of tones.
His fellow pupils Kryo-nrro and Kryo-rsuné were distin-
guished in the same branches of art; the works of the
latter are comparatively common.
Tomi-cawa Fusa-Nnosu Gin-sersu. An illustrator of novels and
designer of Ichimai-yé. His colour-prints are rare, but many
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 343

of his illustrated novelettes which were issued near the

middle of the eighteenth century, are still to be obtained.
Gioxu-sui-sar Yosui-Kané. The artist of the Gwa-to Sen-yo,
a book of rough sketches, published in 1766.
Ko-matsu-ya, commonly called San-yimon. An Ichimai-yé
designer, chiefly remembered for immoral sketches, drawn
after the style of NISHI-GAWA Suxi-nopu. He worked in the
period of Meiwa (1764-1772).
及 ATSU-GAWA SHUN-SHO, called also Krro-sar and Yu-suxt. The
most talented of the depictors of actors in costume. He
and his pupil associates, SHuN-K6 and SHUN-YEI have left
many very beautiful specimens of Nishiki-yé, which appeared
chiefly£between 1770 and 1780. Good examples of his
Nishiki-yé style will be found in the following books, now
very rare and valuable :—Kaobi no Tsubo, portraits of actors,
printed in colours (1770); Sei-rd Bijin Awasé kagami,
portraits of Yoshiwara beauties, printed in colours (1776);
and Nishike Hiakunin Isshit, Adzuma ori, portraits of the
hundred famous poets, printed in colours (Siebold Collection,
1776). But his masterpieces were “ single-sheet” portraits
of actors, a line in which he ranked as facile princeps. There
is indeed in the reproductions of his theatrical pictures,
which were sold at a phenomenally low price, a sentiment of
life and passion, and a mellow harmony of colouring that
appear as a revelation to the European. art student.
He commonly used a seal shaped like a jar, and bearing
the character “ Havasu,” the name of a merchant with
whom he lodged. From this he received the nickname of
TsuBo (jar), and his pupil SHUN-KO was called Ko-rsuzo, or
“the Little Jar.”
He died in 1792. His chief pupils were SHEUN-YEIT SHUN-KO,
Suun-30, and SHun-x1v, who were close imitators of his
style; SHUN-MAN and Gaxv-re1, well known as designers
of New Year’s cards; and, last and greatest, SHuN-R6, who
afterwards became famous under the name of Hoxvsal.
及 AN-TOKU-SAI SHUN-D0 a book-illustrator and designer of colour-
prints who flourished about 1780. His painting No. 2262,
in the style of the Shijd school, is a work of remarkable
power.
344 JAPANESE PICTORIAL ART.

TORI-YANA SExi-ven Toyo-rusa. A pupil of the Kano school

who adopted the style of the Ukiyo-yé. His chief works
are the Toriyama Sekiyen gwa-fu, a large album of mis-
cellaneous sketches, printed in colours (1774); Gwa-jiki-hen,
illustrated legends (1777); and Zokku-hiak "ki, pictures of
goblins, printed in black and grey (1779), and lately repub-
lished.
Krra-wo SHIrGE-MASA, known also as Ko-sur-sa1, Kwa-ran, and
Sa-suzé. Famous for popular sketches of social customs
and Yoshiwara scenes after the manner of Suxinosu. His
portraiture of women, as seen in the heroines of the E-hon
Biwa-ko, was as attractive as that of Suxinosu, and perhaps
more refined. He died at the age of 80 in 1819.
His principal works appeared between 1775 and 1802.
Amongst these may be noted, H-hon asa Murasaki (n.0.),
E-hon Biwa-ko (1775), and E-hon Yotsu-no-toki (1775).
Krra-wo MASA-NOBU。 ‘The artistic name of the famous novelist
KIO-YA Den-z6 (了IO-DEN) a pupil of Suicimasa. Died 1830,
aged 55. He has left many beautiful chromoxylographs.
Ipprrsu-saI Bun-cHo. A painter of actors and scenes of ordi-
nary life, who worked between 1760 and 1780. ‘The colour-
prints after his pictures are highly esteemed.
Iso-pa SHO-BEI, commonly called Ko-nit-sar. A contemporary
of Bun-cuo. Noted for chromoxylographic designs.
Kuso SHun-man, known also as Suo-sa-pd. A pupil of Surar-
MASA, and afterwards of SHUNSHO，chiefy noted for illustra-
tions to comic verselets and New Year’s cards. He died at
the commencement of the present century.
GAKU-TEI HARU-NOBU. <A pupil of SaunsHd, known in the
early part of the century as a designer of Swrimono and
colour prints. An admirable example of his style is repro-
duced in facsimile by M. Gonse, in ‘ L’Art Japonais.’
Ura-cawa Toyo-nosvu. An associate with Buncno and SHUNSHO
as a designer of theatrical portraits for colour-prints about
1770. His works are comparatively scarce.
“Sur-pa Go-xan. A pupil of Suzuxr Harvunosv, noted as a
calligraphist and artist. His principal woodcut illustrations
appeared in the Gwa-to Sai-yu-dan, a book of travels,
published in 1794. He introduced copper-plate engraving,
 POPULAR SCHOOL, Ok, UKIYO-YE RIU. 345

which process he learned, together with other elements

of European art, from a Dutch resident; and was probably
the first Japanese who made use of the elements of linear per-
spective in pictorial art, but his education in the science was
very imperfect. He died in 1818, at the age of seventy-one.
Krra-cawa Ura-maro. <A pupil of Torryama Sexryen. He
originally followed the style of the Kanos, but subsequently
adopted the popular manner of the Katsugawa school, and
became renowned as a designer of colour-prints. His works
appeared about the beginning of the present century, and
were largely exported from Nagasaki by the Chinese, with
whom they were very popular. His Momo chidori kioka awasé,
pictures of birds, with comic verses, published about 1800,
is an admirable specimen of chromoxylography, and the
practice of “embossing” the paper by strong pressure of an
uninked block, as an aid to the effect of colour-printing.
The Seird Nenjiu gioji, or Annual of the courtesan quarter
(1804), is another valuable example of his manner. He
was followed by Ura-maro the Sxconp, and Krra-cawa
SHUN-SEL.
Hoso-pa TERU-YUKT named also Cud-pun-sar. A talented artist,
said to have been a pupil of Kano Yutsen. The en-
gravings from his designs in the Onna San-jiu-rok ’kasen
(1798) are amongst the finest specimens of Japanese colour-
printing.
YEI-SHI， A pupil of the Kano school. Best known by the
chromoxylographs after his drawings of women, published
between 1795 and 1805.
TsU-B0 Tosui-mirsv. A left-handed artist. Chiefly known as
an illustrator of comic verselets. Flourished about 1800.
工 0-SHID-SAI SHA-RAKU。 Drew portraits of actors at the end
of the last century. It is said that “he made too strenuous
efforts to copy nature, and the result was that his pictures
missed the higher truth. After one or two years he retired
from the scene.” The few of his works that have reached
us certainly demonstrate his failure, but in no degree support
the theory of its causation. His drawing is, in fact, more
incorrect in detail than that of any of his contemporaries.
Ka-cen. A designer of colour-prints, who lived in Owari at
346 JAPANESE PICTORIAL ART.

the end of the last century. Some of his drawings appear in

the Kwasho Koretsu (1781).
TAKA-HARA SuuN-cHO-sal. One of the earliest and best illus-
trators of Metsho, or guide-books to celebrated localities.
His chief works are the Miako (Kioto) Meisho (1786), the
Setisu Meisho, which includes a description of Osaka (1796-8),
the Yamato Meisho (1791), and the Idzwmi Meisho (1793).
Many of the sketches in these volumes show remarkable
feeling for the picturesque, and great power of composition.
IsHT-DA Gioxu-zan. An industrious and talented book illus-
trator. He drew innumerable sketches for guide-books, his-
torical works, and novels, at the end of the last and beginning
of the present century, before the publication of the Hokusat
Mangwa.
Amongst many volumes containing his sketches may be
noted the following :一
Yorimitsu ichidai-kt. History of Yorimitsu (Raiko). 1 vol.
1796.
Sumiyoshi Meisho dzu-yé. Celebrated places in Sumiyoshi.
5 vols. 1797.
E-hon Kusunoki Ni-dai gun-ki, History of Kusunoki
Masashigé. 1800.
E-hon Taiké-ki. History of Hidéyoshi. 84 vols. 1798-
1808.
E-hon Kan-so Gun-dan. 1802.
Tédé Meisho dzu-yé. Celebrated places in China. 6 vols.
1805.
B-hon Déji kid. Moral teaching for the young. 1806.
SHI-ToMI Kwan-cersv. <A pupil of Tsuxroxa Tanai, and an
imitator of Gioxuzay. He is well known by his illustrations
to the Isé sangu meisho dzu-yé (1798) and the San-kai mei-san
dzu-yé (1779).
Nisut-mura Ontu-wa, a native of Kioto. The artist of the
Kishia Meisho dzu-yé, the Kiso-kaidé Meisho dzu-yé, the E-hon
Nendatkt, &e.
SHO-KO-SAT Han-per One of the early students of the
European elements of drawing introduced by Go-xan. His
illustrations to a handbook of the theatre, called Shibaa
gaku-ya (1800) contain some clever perspective drawings.
 POPULAR SCHOOL, OR, URIYO-YE RIU. 347

Krra-wo Masa-yosu1, called also Kut-sar and Jé-suixn. The

son of Kosursar, and an early contemporary of Hoxvsat.
Most of his works appeared in the first decade of the present
century. He is especially noted for rapid sketches, in which
the characteristics of the objects depicted were suggested with
remarkable skill by a few apparently careless strokes of the
pencil and a hasty wash of colour. Most of his drawings
represent comic scenes of ordinary life; but he has left a
valuable album of landscapes, and some careful sketches of fishes.
He died in 1824. His principal works are the following :一
E-hon Kwa-ché kagami. Birds and flowers copied from
drawings by a Chinese artist. Printed in colours. (Sie-
bold Collection.) 1789. |
Shoshoku yé kagami. Drawing examples for artists. The
later reprints are imperfect and very inferior. 1794.
Riaku gwa shiki. Miscellaneous sketches. Printed in colours.
1795. |
Shiuki Ichi-fuisu. Miscellaneous rough sketches. (Burty
Collection.) 1800.
Riaku gwa-yen. Miscellaneous rough sketches. Printed in
colours. 1809.
Sansui Riaku-dzw shiki. Rough sketches. Printed in
colours. Uniform with the last. 1810.
Giobai riaku-dzu-shiki. Drawings of fishes and molluscs.
Printed in colours. Circa 1810.
Ura-cawa Toyo-Harv, the founder of the Utagawa branch of
the popular school. It is said that he drew modern wkiyo-yé
better than the artists of the Héreki period (1751-64), and
imitated a style, called Uki-yé, derived from European oil-
painting. He died in the period Bunkwa (1804-1818) at the
age of 69. His works are extremely scarce.
Ura-cawa Toyo-nteo, called also Icut-r1u-sar. A pupil of Toyo-
Harv. Noted as a book illustrator and painter of screen-mounts
(harvi-mazé) and single sheet rough sketches printed in black
or colours. He died in 1828. The following books, containing
his illustrations, offer good indications of his abilities :一
Zenmiskan Sayotsuki. Novel by Bakin. 5 vols. (Hart
Collection.)
348 JAPANESH PICTORIAL ART.

Kengu Irigomi Sento Shinwa. A novel. (Burty Collection.)

1802.
Fukuso Shiriyo. Printed in colours. (Burty Collection.)
1804.
Kataki ucht Sembon zakura. (Burty Collection.) 1809.
Matsura Sayo-himé Seki-kon-roku. Novel by Bakin. (Hart
Collection.)
Asaina Shima méguri no ki. Novel by Bakin. (Hart
Collection.) 1819.
Musobioyé Kochi Monogatari. Novel by Bakin. (Hart
Collection.) 1810.
Ura-cawa Toyo-xunt, named also Icut-yo-sar. A pupil of Toyo-
HARU，and a well-known book illustrator and designer of
theatrical chromoxylographs. His later prints are more highly
pitched in tone than the earlier specimens, but are exceedingly
effective and harmonious. He is said to have introduced the
use of purple into colour-printing. Most of the volumes con-
taining his drawings were novels by Kidden, Bakin and others,
and appeared in the first decade of the present century, but he
published after this date a valuable album in the style of the
Mangwa, called the Toyokuni Toshidama fudé. He died in
1828 at the age of fifty-six. His name was adopted from 1844
by his pupil Kapo-ra Sxé-coro or Kuwni-sapa, who became
known as Toyo-Kunt THE Sxconp.* Of his other pupils the
best were Kuni-masa and Kouni-yasv, whose works, chiefly
portraits of actors, are seldom met with. Other followers of
lesser note were Kuni-mitsu, Kunt-rapa, Kunt-naGca, KuNI-MARU,
and 及 UNI-TSUGU，
Shortly before the opening of the present century the Ukiyo-yé
Ria began to extend its sphere of action, and became developed into
the purely artisan school to which Europe and America owe their
chief experience of the decorative beauties of Japanese art.
It is difficult to fix a date for the phenomenon of which the
rise of the artisan school merely forms a part, the full exercise of
the hitherto half latent powers of the industrial community. The
way had been prepared long before, but the most powerful efforts
* The younger Toyoxuni ustially omitted to write “the Second” after his
signature, and hence some confusion has arisen between the earlier and later
holders of the name.
 POPULAR SCHO OL, OR, UKIYO-YE RIV. 349

in the good cause were those of two individuals who gave to

popular art and literature a wealth of useful work and new
ideas. These men, Bakin, the novelist, and Hoxusai, the book
draughtsman, fast friends as such men should be, laid no claim
to the origination of the sentiment of self-help and _ self-asser-
tion, of which they were the most energetic exponents; nor did
they even appear to be conscious of their championship of intel-
lectual free trade, for all that is heard of their lives shows a
remarkable absence of the qualities of ambition and assertiveness,
in the more objectionable signification of the terms. Their renown
was earned solely by an irresistible combination of untiring industry
with high abilities, and they have both deserved a full measure of
gratitude from their countrymen; but to the one who has written
the manners, thoughts, and traditions of Japan in the universal
language of the pencil may well be accorded also a meed of praise
from lovers of art in all countries.
Hoxvsat, whose real name is variously stated, was born in‘ 1760,
and was the son of one Nakajima Isé, a maker of mirrors, who lived
in the district of Honjé, in the north of Yedo.* He learned the
rudiments of his style under Karsucawa SHUNSHO，the theatrical
draughtsman, and assumed the name of Karsu-cawa SHUN-RO in
compliment to his teacher, but for some reason he was discharged
from the school and left to his own resources.
We learn on the authority of the artist himself that he laboured
at his profession almost from infancy, but nevertheless his history
previous to the midway of his life is almost a blank. It is, however,
known that he became the heir of one Tawara-ya Sori after quitting
the academy of SHUNSHO, and assumed the name of SORI THE Seconn,
which he soon gave over to a pupil, adopting that of Hoxv-saz
Tarsu-masa Rat-ro before the close of the last century.
His early efforts were designs for woodcut illustrations to verselets,
New Year’s cards, and cheap novelettes, and bore more resemblance

* A small portion of the following account has already appeared in a paper by the
author, printed in the ‘ Transactions of the Asiatic Society of Japan’ for 1878, Other
notices of the artist have been contributed by Professor Morse to the ‘ American Art
Journal,’ vol. i. (1880), Mr. F. V. Dickins in his English edition of ‘The Hundred
Views of Fuji’ (1880), M. Duret in the ‘Gazette des Beaux Arts, 1882, and ‘by
M. Gonse in ‘ L’Art Japonais.’ Copies of his drawings appeared in Europe long before
any written account of his life, and several of his sketches were reproduced as early
as 1864 in ‘ Le Japon, la Chine, et l’Inde,’ by M. Chassiron. ;
350 JAPANESE PICTORIAL ART.

to the contemporary drawings of Uracawa TOYOKUNI than to those

of SHunsuo. They were nevertheless quite characteristic, and al-
though the artist had not yet attained his full powers of design, the
promise of the genius afterwards displayed in the Mangwa was fully
apparent. It is remarkable that he appears as author as well as
illustrator of some of these early volumes, under the pseudonym
of 工 oOKI-TA-RO 开 A-K0，
The first of his more important works appears in a kind of
frontispiece to a rare and beautiful volume of colour prints, entitled
the Onna San-jiu-rok’kasen (“'The Thirty-six Famous Poetesses ”),
issued in 1798, the date at which the artist first adopted his now
historical name of Hoxvusat. The execution of this sketch shows
all the indications of a practised hand, and its presence in a book
of high pretensions may be considered to prove that his skill had
by this time earned some degree of recognition. During the next
fourteen years he was engaged in teaching and in illustrating books
of various kinds, of which the most remarkable were four series of
chromoxylographic views of Yedo and its neighbourhood, published
between 1800 and 1804 (see list, page 357); and it was to the great
demand for his drawings as copies for art-students and artisan
draughtsmen that we owe the commencement of the publication of
the work upon which his fame now chiefly rests, the Mangwa, or
Rough Sketches.
The first volume of the Mangwa appeared in 1812. He had at this
time lost many of the imperfections of his early drawing, notably
the ungraceful elongation of the figure, which was conspicuous even
in the Yedo views just alluded to; and the certificates appended to
the painting of Tamétomo and the Demons (No. 1747), executed at
the request of his friend Bakin in 1810, as well as the terms of the
introduction to the first volume of the Mangwa, show that he was
duly honoured by those who were most competent to appreciate his
works. The following abstract from the preface referred to (quoted
from the translation by Mr. F. V. Dickins), indicates both the
scheme of the work and the circumstances under which it was
undertaken :—

“ How shall one hand down to future ages, and bring within the
knowledge of our remote fellow-men beyond a thousand leagues,
the spirit and form of all the joy and happiness we see filling the
een

POPULAR SCHOOL, OR, UKIYO-YE RIU. 351

universe ? Art alone can perpetuate the living reality of the things
of the world, and only that true art which abides within the realm
of genius can properly serve this end. The rare talent of the
master, Hoxusat, is known throughout the land. This autumn, in
his journeyings westwards, the master by good hap visited our city,
and there, to the great delight of both, came to know Boxussn, of
Gek-ko (Moonlight) Hall, under which roof some three hundred
compositions were thought out and executed. Things of heaven
and of Buddha, the life of men and women, aye, even birds and
beasts, herbs and trees were not left unattempted, and the master’s
brush depicted all phases and forms of existence. For some time
past the talent of our artists has been on the wane; life and move-
ment were wanting to their productions, and their execution fell
short of their conceptions. Of the sketches here presented, rough
as they are, the admirable truth and vigour cannot fail to be
recognised ; the master has essayed to give life to all he hag de-
picted, and his success is shown by the joy and happiness he hag so
faithfully expressed. Who can add to his work? To the aspiring
student of art this collection will form an inestimable guide and
instructor. The title, Man-gua—rough or rapid sketches—was
chosen by the master himself.
“ Written by Kei-jiu, of Han-shiu Hall, at Bird-ka in Owari,
period Bun-kua (1804-18). Blooming of letters.” *
The appearance of the first book of the “ Rough Sketches” was
the turning-point in his career. The novelty and grace of the
woodcuts conveyed the news of the draughtsman’s genius to all
who could pay the small sum required for the purchase of the little
volume, and the author rose to the position of a celebrity in his own
wide but humble sphere. A new series was called for and supplied,
and Hoxvusar, now over fifty years of age, began to reap the reward
of the patient labour of his early and middle life. His hours were
soon monopolised by the demands of publishers for fresh volumes,
but his inexhaustible imagination and unwearying energy made it
a simple task to build up the big edifice of books upon which hig
name is inscribed. His literary associates were proud to write for
his volumes admiring, elegant, but for the most part empty, pre-
faces; his contemporaries rendered him the sincere flattery of
* See introduction to ‘The Hundred Views of Fuji,” an English edition of one
of the best works of Hokusai. Batsford, 1880.
352 JAPANESE PICTORIAL ART.

imitating his albums; and a clever band of pupils began to transmit

his style, and marked their respect for his teaching by adopting, more
Japonico, one of the two characters of his artistic name, with the
prefix or affix of a distinctive ideographic sign. The success of his
experiment was great, although the more critical of his patrons found
some lack of calligraphic dexterity in his touch, and of refinement
in his treatment of the multitude of themes to which he turned his
facile hand; but it was to the people at large that his art appealed,
in the rich profusion of sketches that mirrored their everyday life
with a truth that could only come from one who shared their
thoughts and feelings, a truth directed by close observation and
pointed by the quaint humour of the artist, but never poisoned by
coarse, ill-natured or misconceiving caricature. For there were
printed, in characters that the most unlearned could read, a record
of all the little social ceremonials that were as dear to the shopkeeper
or workman as were more imposing formalities to the samurai or
daimio ; their child-like amusements, their historical landmarks, their
folk-lore, and the homely jokes that never lost by repetition; and at
every page a holiday resort, a household pet, a favourite flower, or some
other of the thousand familiar objects of their simple existence, were
summoned vividly before them by the magic of a few swift strokes
of the artist’s pencil. It would be difficult to conceive a work more
calculated to impress those for whom it was intended, or to give the
student of old Japan a more undistorted view of the sentiments and
tastes of the easy-going multitudes who fill the closely-packed
streets and alleys of the chief city of the Land of the Rising Sun.
Thus, at an age that to an ordinary man would have prompted
a retirement from active employment, did the artist begin the labour
that was to form the key-stone of his renown. It was no empty boast
that he made when his well-useéd life was drawing to an end, that he
had “ worked diligently from his sixth to his eighty-eighth year ;” but
his harvest came later than that of most men of success. From the
date of the appearance of his sketch-book, the rich storehouse of
mind and skill yielded volume after volume, until the total of his
handiwork represented a sum of originality attained by few of the
artists of any country, and by none of his own. The “ Rough
Sketches” alone, in its fourteen closely-filled volumes, would have
been a worthy life-work; but these records of his versatility and
industry are but a small part of his legacy. Kven as late as 1836 he
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 358

was still adding ale jerks bozi Pe and den included the
E-hon Suiko-den, the Fugaku hiak *kei, the E-hon Saki Gaké, and
the Musashi abumi, which are regarded as some of his most vigorous
productions. At this date he was nearly eighty, but in robust
health, and his eyes, clear and true as at the beginning of his
career, were independent of the optician’s aid.* His green old age
brought neither impairment of faculties nor desire for repose; and
of his subsequent works, some of the latest, the sketches in the
Sozan Chimon Kishin, painted at the age of eighty-eight, would
scarcely lose by comparison with the productions of his best period;
and the E-hon Saishiki-tsu, issued two years before his death, was a
bold effort on the part of a man approaching his tenth decade to
elucidate his methods by a manual of instruction, that showed no
loss of firmness of hand. It appears to have been amongst the
last efforts of his extraordinary energies. He died in 1849,} at the
patriarchal age of eighty-nine—or ninety, according to the Japanese
method of computation. He left no son to inherit his genius, but of
three daughters, one, named Tru, was possessed of considerable
artistic talent, and another became the wife of a pupil named
Yanagawa SHIGENOBU.
Hoxvsart must be judged chiefly by the woodcutters’ transcripts
of his sketches. It is true that he left many paintings of great
merit, and it is reported that in the early portion of his career
he attracted notice by the exhibition of a number of colossal
pictures, some of which even reached the dimensions of 36 yards
square, but he was essentially a book artist, and as the drawings
made for the engravers were pasted upon the blocks and sacri-
ficed in the process of cutting, comparatively few of the more
characteristic works of his hand have reached us, Fortunately
Europe possesses a few examples to show his power of brush. Of
these, one large kakémono, painted in 1810 (No. 1747), and five
sketches on silk (Nos. 1772-6), executed in his later years, are in
the present collection, together with a small picture (No. 1899)
signed Tamu-tcut1, late Hoxu-sar. <A valuable collection of album
drawings similar to the five above alluded to is in the possession of
* See preface to Musashi Abwmi (1836).
t M. Gonse announces as the exact date of his death the 13th of April, 1849,
and states that he was buried in the Buddhist temple of Saikioji in Hachi-kenji
Cho, Asakusa. Upon his tomb appears the simple legend, “ Genyo Hoku-sai Shinji
Nan Shoyen—Le glorieux et honnéte chevalier Hokusai.” See L’ Art Japonais, vol. i.
2a
304 JAPANESE PICTORIAL ART.

the Hon. James Saumarez, to whose kindness the writer is indebted

for Nos. 1747 and 1772-6. Professor Morse is the owner of
another painting, of which an engraving was published in the
first volume of the American Art Journal; M. Gonse has also
obtained two kakémonos and two rolls of album sketches, bearing
the signature of the master; and others are in the collections
of Dr. Gierke and Mr. Ernest Hart. The powers of Hoxusar as
a colorist were very unequal, but are shown to most advantage
in his earlier sketches. In some of his later works the pigments
were of bad quality, and produced effects that were unworthy
of his forcible outline and perfect composition; but even at his
best he merits no especial distinction above many of his fellows in
this respect.
The influence of Hoxusar’s teaching and example was not limited
to his own pupils or his own public, but extended to industrial
art in all its branches. The admirers of the pottery, bronzes,
lacquer, and other art products, for which a market has been sought
outside Japan, will in most cases recognise the impress of the half~
emancipated artisan, who, in imitation of the Katsushika painter,
has shaken off the traditions that hampered the free exercise of his
artistic instincts, and, amidst much that is crude and rococo, has
evolved those daringly successful feats in decoration which have
helped to make the nineteenth century a new era in the art history
of his country.
No biographical facts as to the man can be found in the printed
literature of his country, beyond a few details of little interest. The
noms de pineeaw which he chose to adopt at various periods in his
career were very numerous; the earliest appear to have been Kin-
TAI-SHA, SHUN-RO, TETSU-GORO, ToKI-TA-R6 and SORI the Szconp, which
latter he changed in 1798 for that of Hoxu-sar Tarsu-masa. As
Hoxv-sa1, Hoxusat-sut, or Karsu-sutka Hoxv-sat, he was thence-
forth known, but other artistic signatures were sometimes appended
to hig works, as Rar-sar, Sar-ro, Tamé-1cnt, or I-rrsv, and lastly,
in his later years (from about 1833), Man Ro-smy, or Gwa-
K16 RO-rN Man.* ‘The signature to the earlier of his known
works was usually Karsu-surxa Hoxvu-sar, the first name derived
from his birthplace, the second, which signifies “northern studio,”
* M. Gonse adds to the list the names of Sesshin, and Tai-gaku, See 1’ Art
Japonais.
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 355

probably referring to the quarter of the city in which his atelier

was situated. After the age of seventy he replaced the characters
of Hoxu-sar by the Buddhistie Svastica, which is represented in
Japanese by the word Manji, or ten thousand, and in this case
implies fabulous longevity. The characters Gwa-x10, or “ infatu-
ated with pictures,” are occasionally prefixed to this symbol.
The author of the revised edition of the Ukiyo-yé rii-ko (MS.),
published in 1844, inserts a long notice of Hoxusat, and amongst
other details tells us that “he could draw with anything—an egg,
a quart measure, a bottle, or with his thumb-nail—and could use
his left hand as well as his right. He was perpetually finding new
outlets for his skill, and, from the signboard of a perfumer to that
of a theatre, from oil painting to Dutch painting, he left nothing
unattempted.” It is also said that he drew many hundreds of
pictures for the Dutch, until a prohibition was issued by the Govern-
ment; if this be true, it would be interesting to know what has
become of these exportations.
Of his personal character we are left to judge by his works, which
fortunately supply us with more than his niggardly biographers
have taken the pains to relate. They demonstrate not only the
versatility and range of his artistic genius, but convey a vivid
impression of his moral and intellectual qualities, of his keen but
kindly powers of observation, wit untainted by malice, strongly
marked individuality free from self-consciousness, and an art-loving
industry that never permitted him to save labour by repetition or
plagiarism, or to mar his conceptions by carelessness of hand or
thought. He was a cyclopedia of folk-lore and legend, and has left
untouched scarcely one motive that was worthy of his pencil.
As an artist he was a true Japanese. It was rarely that any
half-understood elements of the pictorial rules of European acade-
mies stole into his sketch-books to pervert the freedom of his natural
style. The science of chiaroscuro was as lightly esteemed in his art
as were the laws of linear perspective or the forms of superficial
anatomy. He had undoubtedly seen foreign books and pictures,
and some of his own drawings show that he knew as much about
perspective as any of his contemporaries, but the specimens of
Western art that accident had thrown in his way were not of a
character to make him dissatisfied with the models of style trans-
mitted by the masters of his own country and of China. Hence he
2a2
396 JAPANESE PICTORIAL ART.

took the art as he found it, applying it to embody his own ideas and
observations, without feeling the need of more perfected theories or
methods. |
It is not easy to say in what particular direction in the realm of
painting his genius tended, for figure, landscape, animals, and still
life all appeared to come with equal facility from his brush. His
great strength, however, lay in his extraordinary gift of fixing, by
means of a few simple lines, the essential characteristics of his
subject; and with this power were combined a strong perception of
beauty of form, and a firmness and decision of touch, that expressed
his meaning as forcibly if not as elegantly as the master-stroke of
the artists of the older schools. His rapid sketches sometimes
convey suggestions of contour, and even of colour, that were scarcely
excelled by the monochrome masters of China, and his work is
always as free from carelessness as from indication of effort. To
apply to the Japanese draughtsman the remarks of Ruskin upon the
English John Leech, his drawings were wonderful “in their accu-
rate felicity and prosperous haste;’’ and he was not merely right
in what he seized, but “ refined in the sacrifice of what he refused.”
His position, however, must not be overstated. He seizes our
admiration in a thousand ways in the multitude of his achieve-
ments; but we have no right to look for the grandeur of conception
of a MEIoHO，or the graphic perfection of touch and consummate
harmony of colouring of a Moronosv, or a Sanraxv. It is indeed
impossible that the artisan with no more than the ordinary schooling
of his class, condemned to labour from childhood to old age for a
bare subsistence, should have been able to convey into his works the
evidences. of a culture which only well-directed study and gentle
associations could secure; and it is easy to comprehend why, in
Japan, his deficiencies in this respect have robbed him of a large
portion of the esteem that his untutored genius might fairly claim.
But to judge such a man by the classical standard would be narrow
and unjust, and to compare his art with one it never sought to rival
can strengthen the reputation of neither. It is sufficient, that his
life-work was almost unique in its originality, scope, and utility;
and his award of fame may be safely entrusted to the unprejudiced
verdict of time. In France he has already found some generous and
keenly sympathetic critics, and the number of his admirers will
multiply wherever his labours become known.
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 357

The following. list of books, illustrated by Hokusai, may be

of interest to collectors :—

Onna San-jiu-rok ’kasen. Portraits of celebrated poetesses. The

first picture, only, by Hoxu-sar (signed Hoxv-sa1), the rest by
Hoso-pa OHO-BUNSAI,， Printed in colours. 1 vol.* 1798.
Toto Shoket Ichiran. Scenery in and near Yedo. Printed in
colours. 3 vols. (Siebold Collection.) Signed “ Hoxu-sar 工 AT-
su-masa.” 1800.
E-hon Adzwma Asobi. Uniform with the last. 3 vols. 1802.
Chigo Monju Osanago Kidkun. Novelette by Hokusai. 3 very
small volumes. 1802. Signed Toxr-ra-nd Kaxo.
Ogura hiak’ku. The hundred short poems of Ogura. 1803. (Duret
Collection.)
E-hon kioka Yama mata Yama. Uniform with the Toto Shoket
Ichiran. 3 vols. (Burty Collection.) 1803.
Thon Sumida-gawa riogan ichiran. Uniform with the last.
3 vols. 1804.
Tengu. Novelette by Ikkiu. Signed SHUN-RO now GUM-BA-TEL.
1804.
Shunsetsu Yumi hare dzukt. Novel by Bakin. Signed “ Karsv-
SHIKA Hoxu-sat-sut.” (Hart Collection.) 1807.
Kataki wehi Miga-wari Misgo. Novel by Bakin. (Burty Collec-
tion.). 1808.
Hokusai Man-gwa. Miscellaneous sketches printed from two or
three blocks; in some early editions in black only. .14 vols.
The first volume is dated in the 9th cyclical year in the period
of Bunkwa (1812).f The last dated volume, the thirteenth,
appeared in 1849. The time of issue of the fourteenth is
uncertain, and the so-called fifteenth volume, published in 1878,
is merely a reprint of old pictures, chiefly from the Hokusat
Shiu-gqwa ichiran. Some of the early sketches were reproduced
in a volume called H-hon Shitori Keiko.
Shin riaku-gwa. A drawing-book, showing the modes of repre-

* Unless otherwise stated, the titles, ete, enumerated, are drawn from books in
the author’s collection. Tbe most important collections of the works of Hoxusatr
are those of MM. Duret, Burty, and Gonse.
+ A note in the 15th volume states that the publication began in the Hth year
of Bunkwa, or 1814, but-this is probably an error.
308 JAPANESE PICTORIAL ART.

senting the various actions of the human figure. Signed Karsv-

SHIKA Hoxv-sar. 1 vol. 1815.
Hokusai Santai gwa-fu. Miscellaneous sketches printed from
two blocks. 1 vol. 1816.
Wa-go In-shitsu-mon é-sho. Illustrated by NAN-RI-THI and Sai-To.
2 vols. (Burty Collection.) 1818.
Hokusai gwa shiki. Miscellaneous sketches printed in black, or
from two blocks. Signed “TO-TO Gwa-x10 SAKI NO Hoxv-sat1
SenseEr,” and “ Karsu-surka Sar-To.” Preface dated 1818.
E-hon riyo-hitsu. Miscellaneous sketches. Uniform with the
above. Cuts subsequently reprinted in Hokusat gwa-fu. 1820.
Sessen hinagata. Kushi hinagata. Designs for pipes and combs.
3 vols. Signed “Saxr no Hoxv-sar T'amé-1cut or I-rrsu.” 1823.
Ei-yu gwa-yen. Miscellaneous sketches. 1825.
E-hon tékin Orai. Models of priestly calligraphy, with illustra-
tions by Hoxvu-sar. 3 vols. Signed ‘ Hoxu-sar Gwa-xi0.”
1828.
E-hon Suiko-den. Chinese heroes and heroines. Signed “Sax1 NO
Hoxv-sat TAME-IOHI Rosin.” 1 vol. 1829.
E-hon Téshi-sen. Illustrations to Chinese classics. Signed “ K16
Ro-sin Man O,” the whimsical Ancient of a hundred centuries.
10 vols. 1833. (Other series of the same work contain illustra-
tions by other artists.)
E-hon Chiu-kid. Examples of fidelity of retainers. 1 vol.
Signed “SAKI-NO 再 OKU-SAI Tami-1cnr Ro-stn.” 1884.
Ei-yu dzu-yé. Military heroes of Japan. 1 vol. Signed “ GEN-
RIU-SAI Sar-To.” 1834.
E-hon Sai-yi-ki. Story of the travels of Hiouen Thsang, by
Kiusan. 40 vols. Signed “有 ATSU-SHIKA Sar-ro.” (Hart Collec-
tion.) 1835,
Fugaku hiak’ket. A hundred views of Fuji. Printed from two
blocks. 3 vols. 1835 to 18387. This work has been recently
republished in England with an introductory essay and a
description of the plates, by Mr. F. V. Dickins. Reductions of
some of the cuts have appeared in a volume entitled Ukiyo-yé-
déhon (1850).
E-hon Saki-gaké. Japanese heroes, &e. Signed “Sax1 no Hoxv-
sat Gwa-KI0 Ro-sin Man.” 1 vol. 1836.
Musashi Abumi. Uniform with the above. 1 vol. 1836.
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 359
Wa-kan Homaré. Uniform with the above. 1 vol. The artist’s
age is here given as seventy-six in an inscription over the last
cut. 1836.
The three preceding works have been republished. The preface
to the Wa-kan Homaré is dated third year of Kayei (1850).
E-hon Tsu-zoku San-gokw Shi. Novel by Bakin. 75 vols.
Signed “ Katsu-surxa Sar-ro.” 1836.
Dé-chit gwa-fu. Sketches on the Tokaidd. Printed in two tints.
2 vols. 1836. Republished 1881.
Hokusai Shii-gwa ichiran. Miscellaneous sketches. Printed in
colours. Many of the pictures have been republished in the
fifteenth volume of the Mangwa. About 1836.
Nikko-zan-shi, A pictorial description of Nikko. Illustrations
by various artists, including Hoxu-sar. 1836.
Shin Hinagata. Designs for carpenters and wood-carvers. Signed
“Gwa-k10 Ro-sin Man,” 1836. The full title is Sho-shoku
E-hon Katsushika Shin Hinagata, but in later editions this is
reduced to Hoku-sai Shin Hinagata.
Banshoku dzu-ko. Designs for workmen. By “NAI-TO SENSEI，
5 vols. About 1836.
Shaka Ichi-dai-ki dzu-yé. Life of Sakyamuni. 6 vols. (Burty
Collection). Preface dated 1839.
Jingo Kog6 San-kan tai-di dzu-yé. Story of the Empress Jingd and
the Korean conquest. 6 vols. Signed 及 ATSU-SHIKA Sar-to. 1841.
E-hon Hayabiki. Nagashira Musha Burwi. Representations of
famous warriors, classified for quick reference. 1841. (Duret
Collection.)
Hokusai gwa-yen. Miscellaneous sketches. Printed in colours,
Signed “ Saxt no Hoxvu-sar Man-n6-s1n.” Originally printed
under the title of Man-O so-hitsu gwa-fu, from two blocks only.
1843.
Retsu-j6 hiakunin Isshit. Partly illustrated by Hoxvu-sa1. (Burty
Collection.) 1847.
E-hon Saishiki-tsu. Book of instruction for art students. Two
series. The first signed “‘Gwa-x10 Ro-s1mn Man”; the second,
“SAFKI No Hoxu-sai MAN-RO-JIN.” 1847.
Kwa-ché gwa-den. Drawings of birds. By 及 ATSU-SHIKA SAI-TO.
2 vols. 1848,
360 JAPANESE PICTORIAL ART.

Ei-yu hiakunin Isshii. Book of poets. Partly illustrated by

Hoxv-sar. (Burty Collection.) 1848.
Sozan Chomon Kishin. Strange things seen and heard.of by
Sozan. Illustrated by various artists. Some by Hoxvu-sar are
signed with the Svastika or Manji, and record his age as
eighty-eight. 1849.
E-hon ko-bun ké-kiyo. Tlustrated legends. 1849.
Bon-gwa shitori gevkd. Self-instruction in Tray pictures. Printed
in colours. N. D.
Hokusaa dzu shiki. Miscellaneous sketches. Mostly reprinted
from old blocks. 1882.
Ukiyo yé-déhon. Miscellaneous sketches. Many reduced from
Fugaku Hiak’ket. 1 vol. 1850.
Yédo Murasaki. The story of Gompachi. Signed Tox1-ra-n6.
1 smail vol. 1780? (Duret Collection.)
Tsuki no Kumasaka. The history of the Brigand Kumasaka.
Signed Toxr-ra-nd. J small vol. 1780? (Duret Collection.)
Yuga-hama Chiuya Monogatari. Novelette. Signed Toxt-ra-n6.
1790 ? (Duret Collection.)
Mappira gomen. Novelette. Signed Tox1-ra-rd Kako. 1790?
(Burty Collection.)
Kamadé Shégun.. Comparison of historical and domestic events.
Signed Toxi-ra-rd. 1 small vol. 1780? (Duret Collection.)
Mottomo Sékac Chiushingura. Burlesque upon the story of the
Forty-seven Ronins. Signed Toxr-ra-ro. 2 small vols. 1797?
(Duret Collection.)
Yamato Honzo. Comic Natural History of Japan. Signed Tox1-
Ta-RO. 3 small vols. 1797? (Duret Collection.)
Saifu no Himo. A story. Signed Toxt-ra-rd. 3 small vols.
1798? (Duret Collection.)
Bushiu hé.. A collection of blunders. Signed Tox1-Ta-rd. 3 small
vols. 1798? (Duret Collection.)
htiyo-litsu. gwa-fu.. Landscape with figures. 1 vol. Signed
“Toro (Yedo) Hoxu-sar Sarro,” in association with NANIWA
(Osaka) Rrv-xd-sar. (Chis volume must be distinguished
from the book of the same name previously mentioned.)
The figures are drawn by Hoxv-sar, the landscapes by
Rivu-x6-sar. The probable date is about 1820.
Hokusae gwa-fu. Miscellaneous sketches. 3 vols. Printed- in
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 361

colours in the re-issues published in Kayei (1848-1854). The

pictures are nearly all reprints of those in the H-hon Riyo hitsu
and Hokusai gwa shike.
Hokusai Onna Imagawa. Examples of female virtue. 1 vol.
Early edition printed in black, later in colours.
Laya nan. A drawing-book. Two series. Preface signed
“SAKI NO Hoxu-sar Tami-tcut.” N.D. The second series is
sometimes entitled Hokusai Mangwa haya-ji-nan. .
Shimpen Suiko den. A Chinese story, translated by Takai
Ranzan. (Burty Collection.)
Hugaku san-jiu-rok’ke. Thirty-six views of Fuji printed in
colours. Amongst the finest works of the artist. Signed
“Hoxu-sar 工 AME-IOH (Burty Collection, Duret Collection.)
A few supplementary sheets were published after the com-
pletion of the series.
Shimpen Kokwt Swko gwa den. Chinese novel, translated by
Bakin. 45 vols.
Suiko gua den. Stories of Chinese heroes. .Printed in colours.
3 vols. |
Tokaido go-jiu-san Eki. Fifty-three posting stations on the Tokaido.
Printed in colours. (Alexander Collection.)
Omi hak’kei. Eight views on Lake Biwa.. Printed in colours.
(Aiexander Collection.)
Mutsu Tamagawa. Views of the six rivers called Tamagawa.
Printed in colours. (Alexander Collection.)

For the following additional lists the author is indebted to

Mr. Satow :—

Saito gwa-fu. Miscellaneous drawings. .

Akindo kagamt. The tradesman’s mirror.
Hokusai kid-gwa. Comic sketches.
Adzuma hiaku-nin onna Tamadzusa.
Bandai Bannin misa wo. bunko.
Sono no yiki. 5 vols.
Rak6 Ajari kwai-so den. 6 vols.
Nitta Koshin.roku. 10 vols. |
Shaku-son Gto-ichi-dai-ki dzu-yé. Novel by Yamada Isai. Illus-
trated by SAKI No Hoxusar Ro-sin.
362 JAPANESE PICTORIAL ART.

Iso hiakkwa sen. Selection from curious plants and flowers.

Mei-kiyo hiak’ket. Views of noted bridges.
Hiak’kwa kijutsu. Occupations (?).
Hiaku-jiu, hiaku-fuku. Rejoicings and prosperities.
Kio-gwa sohitsu gan. Comic pictures.
Giyoku hiak’ket. Fishing scenes.
Gek’ka hiak’ket. Moonlight scenes.
Hiaku-ba hiaku-gu. Horses and cows.
Hiak'kin hiaku-ju. Birds and animals.
Noka hiak’kei. Agricultural scenes.
Empo Choten ippiaku ji-zai dzw-yé.

The following are named in the second edition of the Uiiyo-yé

riu-ko.

(a) Drawing books.

Ji-mon hinagata (patterns for weavers).
Hokusai E-kagami.
Hokusai gwa-so.
Taméichi gwa-fu.
Shashin gwa-fu. 1 vol.
Joruri-zekku. 1 vol.

(b) Illustrated novels.

Sanshichi zenden Nanka no yumé. By Bakin.
Chiti-ké Itako-busht. 5 vols. By Emba.
Tama no Ochiho. 1 vol. By Koyéda Shigéru.
Kwai-dan Shimo-yo no Hoshi. 5 vols. By Riitei.
Adzuma Futaba no Nishiki. 5 vols. By Shigéru.
Kokwji Nuyé Monogatari. 5 vols. By Shakuyakutei.
Awa-no Naruto, 5 vols. By Riiitei.
Kana déhon gojitsu no Bunshé. 5 vols. By Emba.
Shin Kasané gédatsu Monogatari. 5 vols. By Bakin.
Kataki-uchi urami Kudzu no Ha. 5 vols. By Bakin.
Futatsu Chiché Shiraito Zoshi. 5 vols. By Shakuyakutei.
O Riku Kosuké Yumé no Uki-hashi 3 vols. By Toyei. 1809.
Sumida-gawa Bairia Shinsho. 6 vols. By Bakin.
Raigs Kwai so den. 10 vols.. By Bakin.
Yuriwaka Nozuyé no Taka. 5 vols. By Mantei Soba.
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 363

Matsuwé Monogatari. 6 vols. By Shigéru.

Awoto Fujitsuna Morié-an. 10 vols. By Bakin.
Séta no hashi riitjo Hon-ki. 3 vols. By Riitei.
Hida no takumi Monogatari. 6 vols. By Jimori. 1809.
Peipet Godan. 6 vols. By Bakin.
Hashi kuyé. 5 vols. By Shigéru.
Oguri gwai-den. 16 vols. By Bakin.
Hokuyetsu Ki-dan. 6 vols. By Tachibana Shigéyo. 1812.
Nuréginu z6sht. 5 vols. By Shakuyakutei.
Sansho Daiyu. 5 vols.

(c) Books of colour prints.

Shokoku Sansut. Scenes in the provinces.
Hiak’ki yagio. Devil’s nocturnal excursions.
Shokoku Taki méguri. Cascades of the whole country.
Kwaché dzukusht. The universe of birds and flowers.
Riukiu Hakkei. Eight views of Loochoo.
Hiakunin isshiu. Century of poets.

Besides these were many advertisements, single-sheet pictures,

New Year’s cards (Surimono), and other scattered and ephemeral
productions. Of the Surimono, which were often gems of chromoxylo-
graphic art, remarkable specimens are in the possession of M. Burty,
M. Montefiore, and M. Duret.

及 ATSU-GAWA Saun-wo, Kixu-aawa Yet-zan, Torti Kryo-mrs, and

TSsUKI-MARO were noted for drawings of women in the style of
Uramano, in the first two decades of the nineteenth century.

及 ATSU-GAWA SHuN-cHO. One of the most successful imitators of

Torti KIYONAGA. His works are chiefly colour prints, and
illustrations to Kusa-zoshz, between 1800 and 1820. He after-
wards gave up the Ukiyo-yé style, and changed his name to
Suun-KEN. He was still living in 1821.
Kasu-xipo. An indifferent designer of theatrical pictures at the
beginning of the present century.
Katsu-cawa Suun-ter <A follower of 及 ATSU-GAWA SHUNYEI
Principally known as a book illustrator between 1800 and
364 JAPANESE PICTORIAL ART.

1820. The following works may be cited as representative of

his style :一
Kurai yama homaré no Yoko-dzuna. Novelette by Jippensha
Ikkiu. 1812.
Nanké sei-chits gwa den. 4 vols. The history of the loyalty
and fidelity of Kusunoki Masashigé. 1815.
Ito-goromo Tengu Baikat. 6 vols. Novelette by Nakamura
Utayemon. About 1815.
Katsu-Gawa SHUN-SEN or SHUN-KO the Sxconp, a pupil of SHUN-YET，
who illustrated a few novels, but afterwards applied himself to
the decoration of porcelain saké cups, which came into fashion
during his time. He flourished between 1800 and 1818,
Mori Suun-Ker. The author of the Shunkei gwa fu, a colour-
print album of flowers, birds, and insects, collected from
Chinese sources; published in 1820. (Alexander Collection.)
Ro-ren. The author of the Gwa-to sui fu-yo. 3 vols. An album
of miscellaneous sketches, published in 1810.
Niwa To-xer. The artist of the Kawachi Meisho dzu-yé, or cele-
brated places in the province of Kawachi. 5 vols. Published
in 1802.
了 AYA-MIT SHUN-KID-SAI。 The illustrator of the Nenjiw Gioja tacser,
a description of holiday festivals in Yedo, with drawings in
the style of SHUNOHOSAI; publishedin 1807. He was also both
author and artist of the H-hon Nankd-ki. 30 vols. (Hart
Collection.) 1809.
Boxu-an. The author of an album of rough sketches called
Bokuan So-gwa, published about 1812.
Hasii-aawa Surran. One of the most celebrated of the guide-book
artists. He lived in Yedo, and devoted his pencil entirely to
delineating the noted places and public festivalsof the city,
in emulation of SHuncudsaz. His chief works are :
Yédo Meisho dzw-yé. 20 vols. 1882-6.
Yédo Yiwran hana-goyo-mi. The pleasure resorts of Yedo.
3 vols. 1e37.
Toto Saijiki. The holiday festivals of Yedo. -5 vols. 1839.
This work includes some curious examples of hybrid
perspective.
Hast-cawa Surrer, Son of Surran. <A clever artist, who has
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 365

left many paintings, but does not appear to have worked as a

book illustrator. See Nos. 1749-50.
Nisui-xunt, or Hoxxro Nisut-xunt. The artist of the Kisd-ji
Meisho. 7 vols. 1806.
Han-zan Yasu-nosv. The artist of the Kwaraku Meisho. 1859.
NUMA-TA Gessar. A book illustrator in the style of Hoxusar.
He is the artist of the E-hon Imagawa Jo, 1824. Died 1864,
aged 77.
O-HARA To-ya. An illustrator of novels and guide-books in the
early part of the present century.
Fusi-1 Ran-sat. A book illustrator in the style of Groxuzan. 'His
drawings were engraved in the Tat-hei Ko-ki é-hon Mi6 yo den,
a selection of scenes from Japanese history. 5 vols. 1834.
Yama-zaxt Ki-yu. The artist of the Zoho é-hon Kunkod gusa,
stories of Japanese heroes, with colour print illustrations. 1838.
Ket-sat YeI-sen, surnamed Iné-pa. An industrious book illustra-
tor, who followed closely in the footsteps of Hoxusar and the
Uracawas. The Ukiyo-yé rii-ko informs us that he was a great
drunkard, and would sell the clothes off his back for saké; and
that he amused himself with novel-writing when not otherwise
engaged. He abandoned the practice of his art,at a com-
paratively early age, on the grounds that, as he was sure to
. deteriorate, it was better to discharge his patrons than to
receive his congé from them. His works are too numerous to
detail at length, but the following may be referred to as
offering the best examples of his manner :一

Jingt Andon. A collection of miscellaneous sketches, printed

in colours. Illustrated by Ket-sar Yurr-sen, in association
with other artists. 5 vols. Circa 1825.
Kogané no Suzw Sachibani Sédshi. Novel by Kiutei Masa-
nawo. (Hart Collection.) 1829.
Nishiki no Fukuro. Miscellaneous sketches, in the style of
the Mangwa. Ivol. 1829.
Keisai ukiyo gwa-fu. Miscellaneous sketches, by Kur-sar and
Hrro-suick in the style of the Mangwa. 3 vols. Pub-
lished about 1836.
Keisai So-gwa. Rough sketches, printed in colours. Very
forcible in early editions. 5 vols. 1832.
366 JAPANESE PICTORIAL ART.

Bu-yu Saki-gaké dzu-yé. Drawing of Japanese heroes.

2 vols. N. D.
Satomi Hak’ken den. Novel by Bakin. Issued between 1816
and 1842. With illustrations by Kzur-sar YEI-SEN，YANA-
GAWA SHIGE-NOBU, and G10KU-RAN-SAI SADA-HIDE.

Ura-cawa Kuni-sapa, known also as Go-vTd-rEI, Ka-cH6-r6, and

Tout-stu-sa1, and afterwards, from 1844, as Toxo-KUNI the
Srconp. One of the principal designers of book illustrations
in the present century. Died in 1865 at the age of seventy-
eight. He supplied drawings, a few of which show a rudi-
mentary knowledge of perspective, for large numbers of Kusa-
zoshi and other books published between 1820 and 1860 (often
signed Toyo-Kxuni), and left many good chromoxylographs of
actors and courtesans. His style is well illustrated in the
following volumes :一
Natsu no Fuji. Portraits of actors. Printed in colours.
2 vols. 1827.
Santo Yakusha Suiko den. Theatrical characters. Printed
in colours. 1829.
Kaikwan rioki kiskaku-den. Novel by Bakin. (Hart Col-
lection.) 1833.
Haikai kijin den. Scenes of theatre. Printed with two
blocks. 1833. Amongst the earliest works bearing the
name of Kuni-sapaA are two small and comparatively
unimportant books, called Shd-gwatsu yaoyo no kado,
published about 1810; and Otoko no naka no Otoko
kagami, a novelette, published in 1816.

O-HARA To-ya. A Meisho artist.

SHUN-SEN-SAI. The author of some of the finer landscapes in the
Tokaidéd Meisho.
Tsursumr T6-rin. A noted painter of lanterns and H-votos for
temples in the first half of the present century.
En-pd Han-yi-mon, known as SAI-TO the Szconp. A pupil and
close imitator of Hoxusar; the author of the Musha kagamt,
Saito gwa-fu, Komin Hinagata, and many others which are
often mistaken for the works of his master.
SHIN-SAIL An early pupil of Hoxvsat.
 POPULAR SCHOOL, Ok, URIYO-YE RIV. 367

T6-reEr Hoxu-sut. A pupil and imitator of Hoxusar. See Nos.

1779-1816.
Ter-sat Hoxu-sBa, surnamed Art-saka. A pupil of Hoxusar. He
is known by his illustrations to novels, among which may be
named the Toshitsu ydgen kwai-roku, 30 vols. (Burty Collec-
tion), published in 1809, and the Den-ka chawa, 5 vols.,
published in 1829; and left many pictures. See Nos. 1762-3.
Uwo-ya Hoxxer. <A pupil of Hoxvsat, but is said to have pre-
viously studied under Kano Yosen. Many of his paintings are
in existence, and bear a very strong resemblance to the works
of the former artist. As a book illustrator he is best known
by the Hokkei mangwa, the Kidka Go-jiu-nin Isshia (Burty
Collection), 1819; and the drawings in the Hokuri jiu-ni toki.
He died in the period Ansei (1854 to 1859). M. Duret
considers him the most talented of the pupils of Hoxusat.
See No. 1906.
Hoxvu-mer. A female artist of the school of Hoxusar. The author
of the Hokumei gwa-fu, an album of miscellaneous sketches,
published about 1825.
Hoxv-un. <A pupil of Hoxusar. The author of the Hoku-un
Manqwa, which M. Gonse believes to be the work of Hoxusar
himself.
Ho-aa. A pupil of Hoxvsar. He does not appear to have illus-
trated books, but is known by his paintings, which are in the style
of his teacher. See No. 2036.
Hoxv-s6, or Ran-sat Hoxv-so, a pupil of Hoxvsat, and a designer
of theatrical colour prints.*
Hoxv-siu. A pupil of Hoxusat. ‘The author of the Hokwiu
guwa-fu, an album in the style of the Manguwa.
Hoxv-cu6, Hoxv-surv, and Hoxv-yut, designers of single-sheet
colour prints of actors in the style of Toyoxunt.
Ura-aawa Kunt-yosui, known also as CHO-YEI-RO and IoHI-YU-SAI.
A son or pupil of Toyoxunt, and a close imitator of his style.
Died 1861, at the age of sixty-one. He is principally
known as a designer of single-sheet colour prints, but has also

* Neither Hoxvusar himself nor his pupils, with the exception of Hoxusi,
Hoxucné, Hoxuyet, and one or two others, were contributors to the pictorial
record of the theatres. The mantle of Karsugawa SHUNSHO, the Vandyck of the
stage, fell upon the Uragawas.
368 JAPANESE PICTORIAL ART.

illustrated many books, of which the following give the most

characteristic examples of his power :一
Ichiyi gwa-fu. Miscellaneous sketches. Published in 1831.
Wakan yeiyu. Stories of Japanese heroes. N. D.
Kuniyoshi zatsu-gwa. Miscellaneous sketches. N. D.
Nippon kaibiaku yuraikt. 6 vols. A history of the ancient
days of Japan. 1856.

Ura-cawa Yosut-rsuna (known also as Icut-rd-sar), Kunt-axt

(known also as Ippd-sar), Kunimasa, Kuni-nrro, Kunt-suiai,
Kunt-tsunt, Yosui-rosur, and YoSHI-TAKI are the names of
less known pupils of the Uracawas. These artists were all
designers of theatrical and other single-sheet pictures. The
living representatives of the line are named YosHI-TOKI and
_ Yosut-rora (called also IOHIT-MO-SAT).
GioKu-RAN-SAI Sapa-HIDE. A noted book illustrator. His manner
is very like that of Kzisar Yetsen, whom he joined in the
illustration of the Satomi Hak’ken den. The Chiu yu Asakusa
Nikki, a novel by Shotei Kinsui (Hart Collection) contains
some of the best examples of his work. His illustrations to
the Chiushin mei met gwa den show some knowledge of linear
perspective.
Yana-Gawa Suici-nosu. <A pupil and son-in-law of Hoxvusar.
He was associated, together with SADAHIDE and 有 EISAT Yursen,
in the illustration of the Satome Hak’ken den, and published
two collections of miscellaneous sketches in 1821, the Yana-
gawa gwa-j6, and the Yanagawa gwa-fu. He died in 1842, at
the age of about fifty-five. The H-hon Fuji bakama, printed
in 1836, was illustrated by Yana-cawa Sutat-yama, who was
probably the same as SHIGENOBU.
O-IsHI Ma-rora. A book illustrator, now chiefly known by his
share in the Jingi Andon (see Ketsat Yutsen), the Itsukushima
Meisho dzu-yé, and the Sé-gwa hiaku butsu, a volume of mis-
cellaneous sketches, published in 1833. Died 1833, aged 41.
_ Fuxu-zen-sat. A native of Owari. His principal work is the
Ippitsu gwa-fu, “ single line drawings,” in which various objects
are very cleverly outlined, each by a single continuous stroke
of the brush, somewhat in the manner of Kertsar Masayosnt.
These sketches are very similar in style to those of Hoxvsat,
 POPULAR SCHOOL, OR, UKIYO-YE RIU. 369

by whose advice they were published (see preface to the

volume); but some authorities believe that they are really the
work of the latter. ;
Boxu-sen.. A native of Owari. The author of the Bokusen so-
gwa, an album of miscellaneous sketches printed in colours,
and published in 1815. It was at his house that the plan of
the Mangwa was sketched out, and the drawings for the first
volume executed.
Hiro-sutc#, known also as IoHr-RID-SAI，and Kon-po Jrv-ser.
Originally a Yedo fireman, afterwards one of the most original
and talented pupils of Uracawa Toyontro. He was an ex-
tensive contributor to single-sheet colour prints, but made a
speciality of landscape, and has left, both in woodcuts and
paintings, some of the most energetic and truthful representa-
tions of Japanese scenery that have been produced in his school
during the present century. He appears to have been influenced,
to a certain extent, by specimens of European art, for most of his
pictures display attempts to carry out the rudimentary laws of
linear perspective. He died of cholera in 1858, at the age of
sixty-one. The name of Hrrosuick has since been appended to
landscape sketches of inferior merit, in the Nihon Chishi riaku
dzw kai (circa 1870) and other works, which are probably from
the hand of a pupil. Of his single-sheet pictures, which are
almost innumerable, M. Gonse reproduces a striking example in
‘L’Art Japonais.’ See Nos. 1756-7 and 1895-6.
Some of his principal book illustrations appear in the fol-
lowing works:—
Fuji no hiaku-dzuw. Views of Fuji. Printed in colours,
(Burty Collection.) 1820.
E-hon Tokis miyagé. In many volumes. Scenes in and near
Yedo, Printed in colours. Published about 1850.
Tokaid6é Fia-kei So-gwa. Scenes on the Tokaidd. Printed in
colours. 1851.
Go-siu-san Eki Tokaido tsu-dzuki yé. Scenes on the Tokaido,
(Dickins Collection.) 2 vols. N. D.
Go-jiu-san tsugi Meisho. Printed in colours. N. D.
MATSU-GAWA Han-zan. Noted for drawings of Japanese scenery.
His pictures, like those of Hrrosute%, were mostly of small size
2B
370 JAPANESE PICTORIAL ART.

and printed in colours, buthe was inferior in artistic ability

to the Yedo draughtsman. His principal book illustrations
are ,一 时

Naniwa no Nigi-wai. Popular resorts in Osaka. Printed

in colours. N. D.
Ujigawa rio-gan. 2 vols. The banks of the Uji. Printed
in colours. 1862.
Yodogawa rio-gan. 4 vols. The banks of the Yodo. Printed
in colours. 1862.
Sai-kokw San-jiu-san-ché Meisho. 1854.
Jiguchi Andon. An album of popular sketches. Printed in
colours. N. De 了

Santi-nosv, called also Oxo. The artist of the Methitsu gwa-fu,

miscellaneous sketches, printed in colours; and the Omi hak’ kei,
or eight views of Omi, colour print, both undated, probably
published about 1850.
Yo-yen Yosut-rapa. The artist of the Zenkdji Michi Meisho
dzu-yé. 5 vols. Published in 1850.
Ora-airt TADA-CHIKA， The artist of the Owari Meisho. 7 vols.
Published in 1844.
Ya-summa Sapa-oKa. The artist of the Kashima Meisho, 2 vols.
Published about 1850.
I-sar, or Karsu-surxa Isaz. A pupil and close imitator of
Hoxvsar. His drawings are often mistaken for those of the
master, but on careful examination may be distinguished by
their inferiority in point of originality and vigour. He is seen
to most advantage in the illustrations to the Nichiren Shonin
ichi-dai dzu-yé (6 vols.), a life of Nichiren, published in 1858,
and in the Kwannon kié riaku dzu kai, passages extracted from
Buddhist Satra (1851). Many hundreds of his miscellaneous
sketches are reproduced in the Isat gwa shiki (2 vols.), 1864,
the Kwa-ché-san-sui dzu-shiki (5 vols.), 1865 to 1868, and the
Man-gwa haya-biki (four series), 1867, recently reprinted.
Sué-ru Kid-sar. This artist, who is still living (born 1831), is
one of the most remarkable pupils of the Hoxusarschool. Heis
the only genuine successor of the master in his comic vein, and
although inferior to Hoxusai in genius and industry, he dis-’
plays not only a rollicking originality of motive, that perhaps
rE

POPULAR SCHOOL, OR, UKIYO-YE RIU. 371

occasionally smacks of the saké-cup, but is gifted witha rapid,

forcible and graceful touch, and a power of realising action
that would do no discredit to theebest pages of the Mangwa.
A large number of his sketches are included in the collection,
and hundreds of his designs have been recently published in
album form. His portrait, together with much interesting
information, will be found in ‘Promenades Japonaises,’ by
Guimet and Regamey.
A sketch-book called the Kidsai gwa-fu, was issued about
1860, and may have been one of his early essays, but the first
character of the name is different from that which appears in
the signature to the recent productions of the artist. The
first of his sketches that attracted attention were illustrations
to the E-hon Taka kagami (5 vols., commencing about 1870),
which included some remarkable drawings of hawks. This was
succeeded by the Kidsat gwa-fu (1880), the Kidsai Don gwa,
Kibsai raku-gwa, Kidsai Man-gwa, and Kissaé riaku-qwa (1881),
and the Kidsaz swi-gwa (1882). See Nos. 1827 et seq.

_ The principal of the remaining book draughtsmen now working

are :一
Sen-sar Er-raxv, the artist of the Meiji Tai-héki and many other
works; 了TAOHI-BANA Unea; Anat Td-srro, or Hixt-san (most of
whose works are engraved on copper); Ko-nayasut YoNE-zo;
Naca-wo Muv-poxu; Nawo-yi Toxv-ra-rd; Hoxv-no Do;
Taxk-zawa K16-su1, and, lastly, Bar-rez, whose sketches in the
Bairei hiaku chi gwa-fu (4 vols., 1881-2) deserve notice for the
spirited delineation of bird-life,

Many artists who have been represented only by a few unim-

portant works have been omitted from this list.

2 3B 2
372 JAPANESE PICTORIAL ART. —

UKIYO-YE RIU.
——

OTSU YE.

1701. Kakémono, on paper, painted in colours.. Size, 22} x 83.

Demon habited as a travelling monk.
A coarsely executed caricature.
Artist unknown. Seventeenth century.

HISHIGAWA RIU.

1702. Kakémono, on silk, painted in colours. Size, 153 x 24}.

Yoshitsuné and ladies.
A room occupied by a number of ladies playing upon different
instruments of music. Yoshitsuné stands outside a rustic gate
sounding a flute.
Painted by HirsHI-GAWA Moro-nosu. Seal. End of
seventeenth century.
1703. Kakémono, on silk, painted in colours. Size, 123 x 264.
River scene.
A pleasure-boat, manned by a dozen oarsmen, conveys a Samurai
and an attendant party of musicians and dancers. On the left of
the picture is a small boat in the service of a group of bathers of
both sexes. The Wakashi courtesans in the principal boat carry
short swords in their girdles.
Painted by HirsHI-GAWA 了 ICHI-BEI MoRo-NOBU. Signed.
Seal. End of seventeenth century.

1704. Kakémono, on silk, painted in colours. Size, 38} x 13.

Geishas.
Two gaily attired young girls, one playing upon a samisen.
Drawing and colouring after the manner of the Tosa school.
Painted by HirsHr-aAWA Moro-nosu (? the Second).
Signed. Seal. End of seventeenth century.
 UKIYO-YE RIT. 373

1705. _Kakémono, on silk, painted in colours. Size, 18 x 243.

Geisha caressing a cat.
Style resembles that of HIsHIGAWA Moronosu.
Painted by Jo-ran. Signed. Seal. Poetical inscription
Eighteenth century.

1706. Kakémono, on silk, painted in colours. Size, 10 x 16.

Blind man deluded by a fox.
A blind man conducted towards the fields by a fox whose tail
he trustingly grasps, in ignorance of the nature of his guide. ‘Two
courtesans at the gate of a way-side house are laughing at the
scene.
No name or seal. End of seventeenth century.
There is probably some old story attached to the picture, but it has not
yet been traced.

1707 and 1708. A pair of makimonos, on paper, painted in

colours. Size, 204 x 153.
Popular amusements.

Painted by Miya-aawa OHO-SHUN。 Signed. Seal. End of

seventeenth century.
The public flower exhibitions, and groves or avenues of cherry and other
trees famous for the beauty of their blossoms, are amongst the most
popular holiday resorts of the townsfolk of the great cities of Japan.
Here the visitors, with cheerful. faces and gaily-coloured apparel, flock in
thousands and outvie in brightness the flowers that attracted them, enjoy-
ing their holiday with a zest almost peculiar to the infant and adult
children of the Far East. Drawings of such places form a conspicuous
feature in the illustrated guide-books, and a work in three volumes, the
“ Yedo yiuran hanagoyo-mi,” filled with charming pictures by Haségawa
Settan, has been devoted to the most favourite of these scenes in the present
capital, A roll especially devoted to these holiday scenes will be found in
No. 1770. :

1709. Makimono, on paper, painted in colours. Size, 296 x 18}.

Matsuri procession.
A holiday procession of considerable pretensions, in which con-
Spicuous parts are taken by men habited as the Seven Gods of
Good Fortune.
Artist unknown. No signature or seal. Eighteenth
century.
374 JAPANESE PICTORIAL ART.

1710. Unmounted drawing, on silk, painted in colours. Size,

123 x 553.
Wakashi bagnio.
Painted by HIrsHI-GAWA Moro-nozsu. Signed. Seal. Dated
second year of Jokl0 (1685).

1711 to 1716. A set of six drawings, on silk, painted in colours.

Size, 26% x 12.
Mountebanks, courtesans, &c.
Painted by Sueu-wara no Mrrsu-sapa. Signed. Seal.
Eighteenth century.

1717 and 1718. A pair of screens, paper, painted in colours.

Size, 593 x 184}.
A river festival at Nagoya (Owari province).
The river is occupied by the show of the occasion : a procession
of highly ornamented barges, each distinguished by a special badge
and crest, some bright with scores of red lanterns, others forming a
stage for bands of music, and others bearing tower-like erections
covered with gaily-coloured fabrics crowned with images of Dra-
gons, Shéjés, the Spirits of the Sumiyoshi and Takasago pines, and
other emblematic figures. These are jostled by numbers of boats,
tenanted by pleasure-parties of all grades, from the shopman busily
cooking- eels for his own refection, to the daimio, whose order of
importance is announced by the number of his retainers and the
paraphernalia they bear. At one place a rope has been stretched
from a barge to a neighbouring boat for the display of the gym-
nastic feats of a mountebank ; a bridge which spans the river has
been closed, to serve as a kind of Grand Stand for specially privi-
leged spectators; and a religious element asserts itself in the form
of a staff decorated at its summit with the sacred strips of paper
(go-hei), and implanted deeply by its other extremity into the bed
of the stream.
The banks are lined by a lively crowd, laughing, chattering,
feasting, and, by exception, quarreling. Here a blind mendicant,
with his stick projected far in advance, plods his way through a
scene which for him means nought but noise and the possible em-
pouchment of some small coin of charity; here a group of sirens
are trying to lure a shaven pilgrim to his moral destruction; here
a doctor, in the sombre garb of his profession, walks with measured
pace, followed by a servant bearing a huge box of healing appliances ;
here some two-sworded gentry amuse themselves with an infant, and
look for the nonce as child-like as their little play-mate; and every-
where the refreshment-booths and pathways teem with the life of
 UKIYO-YE RIU. 875

a people who understand, perhaps better than all the rest of the
world, the great art of holiday-making.
These pictures, which belong to the end of the seventeenth
century, are valuable as records of dress and customs, and, despite
the conventionality of drawing, possess considerable artistic beauty.
They are probably the work of an artist of the Hishigawa school,
but bear no mark of identification.

ITCHO RIU.

1719. Kakémono, on paper, painted in colours. Size, 403 x 163.

“The three creeds.” (See No. 1719.)
The style of this painting differs little from that of the Kano
school, of which the artist was originally a pupil.
Painted by Hana-nusa Ircud. Signed Hoxv-so 0. Seal.
Beginning of eighteenth century.
1720. Kakémono, on paper, painted in colours. Size, 327 x 103.
Shinto Priest.
The priest is carrying a lantern in the rain, to light the lamp of
the shrine.
Painted by Hana-susa Itcud, Signed, Seal. Eighteenth
century.

1721. Kakémono, on paper, painted in colours. Size, 274 x 93.

Ebisu. (See p. 36.)
The god, holding his attribute, the Tai fish, above his head, is
capering gaily upon the lintel of a Shintd gateway.
Painted by Hana-susa Irond. Signed. Seal. Eighteenth
century.

1722 to 1724. A set of three kak!monos, on silk, painted in colours.

Size, 45 x 163.
1. Si Wang Mu. (See No. 705.)
A fairy handmaid holds a wing screen above her mistress’s
head.
2 and 3. Flowers,
Painted by Hana-susa Ivcu6, Signed. Seal. Eighteenth
century.

1725. Kakémono, on silk, painted in colours. Size, 14 x 223.

Rural ceremonial in honour of the rice harvest.
A number of peasants, some in white Shintd attire, are carrying
a box filled with rice; others in ordinary dress are bearing torches
376 JAPANESE PICTORIAL ART.

and a staff of go-hei. Mount Fuji is dimly seen through the mists
of night-fall.
Painted by HANA-BUSA Ircuo. Signed. Seal. Eighteenth
century.

1726. Kakémono, on paper, painted in colours. Size, 13% x 193.

Spotted Egret (Gor-saat).
Painted by Hana-susa ItcHd. Signed Cuxoé-xo. Seal.
End of seventeenth century.

1727. Kakémono, on silk, painted in monochrome. Size, 433 x 153.

The Blind Beggar and the Thunder God.
A blind mendicant has unwittingly taken hold of an extremity
of the waist-cloth of the Thunder God, who had chanced to pass
near him while sweeping along with the storm. The misguided
man, clinging convulsively to his strange leading-string, is. being
whirled up into the sky, leaving his stick, umbrella, and clogs far
behind him. The frozen summit of Mount Fuji, dimly seen in
the far distance through the cloud and mist, appears to indicate
the probable termination of the aerial journey.
Painted by Hana-susa ITOHO (?). aks: Seal. High-
teenth century.

1728 and 1729. A pair of kakémonos, on paper, painted in

colours. Size, 522 x 223.
Strollers.
1. Two manzai performers, attired in travestie of the old Japanese
dress; one wields a fan, the other beats a small drum. Various
objects emblematic of the new year lie scatteredat their feet.
2. Two dancers, one holding two pieces of bamboo, the other a
fan upon which are figured a knife and two rings. The hats of the
performers are decorated with ferns and honeysuckles.
Painted by Ivcud, Irrer, and Nosvu-karsv. - Signed
Hoxv-so O IrcHé, Hana-susa Irrer, and Roxvu-sd Hana-
BUSA NOoBU-KATSU。 Seals. Eighteenth century.
On the first day of the new year wandering minstrels called Manzai
(always in couples, one of the two being called Man-zai, the other Sai-zo)
show themselves in the streets. They appear always to have come from
Mikawa (as water-sellers in France seem always to be Auvergnats, and
organ-grinders in London to be Savoyards). The phrase “ Manzaz,
Manzai,” or “ Senjiu Manzai” (a thousand times long life, ten thousand
years of life to you) is constantly repeated by these strollers. See “The
Calendar of Japan” in the Japan Weekly Mail, 1878.
 UKIYO-YE RIU. 377

1730. Kakémono, on silk, painted in monochrome. Size, 37} x 16.

Monkeys.
One monkey points upwards to the moon, while the other stoops
towards a pool to seize the reflection of the satellite. The animals
depicted are taken from Chinese paintings, and are unknown in
Japan.
Painted by Hana-susa IroHO， Signed. Seal. Eighteenth
century.
1731. Kakémono, on silk, painted in colours. Size, 353 x 132.
Chinese landscape. Mountain and lake scenery.
Moonlight. ,
Sketched in ink, and lightly tinted with colour, in the style of
the older Chinese or Kano school.
Painted by Hana-susa Ippo at the age of seventy.
Signed. Two seals. Eighteenth century.
1732. Kakémono, on silk, painted in colours. Size, 37} x 173.
The procession of the Sakaki (Cleyera tmperialis).
A crowd, mostly clad in the white Shint6 ceremonial attire, and
holding ‘fans, are escorting the sacred tree, the branches of which
are decorated with slips of paper (go-hei).
Painted by Ko St-xur Signed. Seal. Nineteenth
century.
1733. Kakémono, on silk, painted in colours. Size, 394 x 142.
Yoritomo and his retainers.
Yoritomo is riding on horseback, protected from the sun’s rays
by an umbrella which is held over his head by a Samurai attendant.
A warrior of truculent aspect, whose hair is gathered into a double
ball at the back of his head, walks by his side, armed with a long
iron club.
Painted by Ko St-xexr. Signed KO §t-xer NOBU-YOSHI
(or Surn-et). Seal. Nineteenth century.
1734. Kakémono, on silk, painted in colours. Size, 393 x 143.
Cranes and pine-trees—emblems of longevity.
In the foreground is the great stone gateway (torii) of Hachiman
at Kamakura, flanked by the ancient pines of the temple. The sea
and hills of the adjoining shore stretch out in the far distance. A
crane has alighted upon the lintel of the gate, and his mate is in
the act of swooping down to join him.
Painted by K6 St-xur. Signed. Seal. Nineteenth
century.
378 JAPANESE PICTORIAL ART.

1735, Kakémono, on silk, painted in colours. Size, 394 x 143.

Landscape.
A view
of the eastern shore of Japan, near Kamakura, with
Mount Fuji in the distance.
Painted by Ko St-xer Signed. Seal. Nineteenth
century.
1736. Makimono, on paper, painted in colours. Length, 366 x11.
Miscellaneous sketches (mostly humorous).
Painted by Hana-susa Ivcud. Signed Hoxv-so O Ircno.
Seal, Eighteenth century.
1737. Unmounted drawing, on silk, painted in colours. Size,
132 x 19%.
Ebisu. (See p. 36.)
Painted by 了 ANA-BUSA Ixner at the age of seventy-two,
Signed, Seal. Nineteenth century.
1738 and 1739. A pair of unmounted drawings, on paper, painted
in monochrome, Size, 17? x 523.
Chinese landscapes sketched in ink upon a gilded
background.
Painted by Hana-pusa Ippo, Signed. Seal. Eighteenth
century.
1740 to 1746. <A set of seven unmounted drawings, on paper,
painted in colours. Size, 53} x 223.
Chinese worthies.
1. Wu Yiin. (Jap. Goshisho),
A warrior, holding above his head a massive brazier with one
hand, while writing a verse of poetry with the other.
Wu Yiin was a famous Chinese general of the fifth century B.c. Driven
from his native state of T's’u after the death of his father and elder brother,
about 520 B.c., he took service in the rival Court of Wu, and remained
faithfully attached to three successive sovereigns of that country. He was
condemned to commit suicide, about B.c. 475, by the Prince Fu Ch’a, whom
he had ventured to reproach for his debauchery. (Mayers.)
Many incidents in his career are told by writer and artist, but he is
best remembered by his feat on the occasion of an assembly of the Dukes
of various provinces at the Royal palace. It was then proposed to decide
by competition, in accordance with an ancient custom, which of those
present was the strongest and most learned; the test fixed being to
compose a sentence upon a given theme and to write it while holding up
a metal brazier weighing a thousand pounds. Wii Yiin, who then repre-
 UKIYO-YE RIU. 379

sented his native state of T's’u, alone was able to accomplish the double
task.
On the same occasion the representatives of the states brought offerings
from the treasures of their lands to lay before their host, but the country
of Wu Yiin was lacking in material resources and could furnish no gift.
The deficiency giving rise to a disparaging remark concerning the poverty
of Tsu, Wu Yiin arose, and proudly replied, like Eberhard of Wiirtem-
berg,* “My country is rich in the treasures of a virtuous people, the
masses are industrious in their vocations, the nobles are generous to their
vassals, and the retainers are faithful to their lords; this is better far than
the precious stones of Chin” (Sha hd Bukuro).
His revengeful outrages upon the dead bodies of those who had caused
the death of his father and brother are recited as a mark of his filial piety
and strength of purpose.

* “ Eberhard, der mit dem Barte

Wiirtemberg’s geliebter Herr,
Sprach: Mein Land hat kleine Stidte,
Tragt nicht Berge silberschwer.
Doch ein Kleinod hilt’s verborgen,
Dass in Waldern noch so gross,
Ich mein Haupt kann kiihnlich legen,
Jedem Unterthan in Schooss.”
Der reichste First, by Justinus Kerner.

2. Chao Ch’ung-kwoh (Jap. Chojiukoku), An aged warrior.

Chao Ch’ung-kwoh was a military commander during the reigns of Han
Wu Ti, Chao Ti, and Siian Ti, and rendered important service in warfare
B.c. 99 and 61. “It was by his advice that a body of troops was per-
manently stationed on the frontier as military settlers; and the practice
of allotting tracts of land to the support of stationary garrisons is attri-
buted to this origin.” (Mayers.) He died 3.0. 52 at an advanced age,

3. Fan Li (Jap. Hanrei) with Si She (Jap. Seishi). A warrior

and a lady in a boat.
Fan Li, the minister of Kow Tsien, took an important part in the over-
throw of Fu Ch’a. To deliver his master from the snare of the fatal beauty
of Si She, the mistress of the fallen prince, he abducted and drowned her.
He is best known, however, as the Chinese Cresus. When he considered
his services no longer necessary to the State, he retired from office
(8.c. 473), and subsequently gained fabulous wealth by agriculture, com-
merce, and the rearing of fishes in ponds. His name became proverbial
for riches. See Mayers, p. 1, No. 127.

4. Chao Yiin (Jap. Chun) leaping the chasm. (See No. 689.)
5. Fan Kwai (Jap. Hankai) forcing his way into the chamber of
conspiracy.
Fan K?wai was a famous adherent of Liu Pang. (See No. 1297.) When
a plot had been formed to assassinate Liu Pang, by a rival named Kao-yu,
Fan K’wai, who had heard that his master’s life was in danger, burst open
the great doors of the building in which the conspirators were assembled,
380 JAPANESE PICTORIAL ART.

and appeared before them with fierce aspect and drawn sword. Kao-yu,
affecting to treat the matter lightly, ordered the servants to bring wine
for Fan K’wai, who, strong in feasting as in fighting, quaffed ten shos
(nearly four gallons) at a draught, and ate the leg of a wild boar, using his
sword as a carving knife; then boldly accused Kao-yu of his intended
treachery. During this scene Liu Pang secretly fled with Chang Liang;
and Fan K’wai, to cover the evasion, continued his debauch before the
admiring Kao-yu until he fell intoa drunken sleep upon the floor. (-hon
Ridzai.)
Many years after, like Wii Yiin, he received an ill reward for his services
in being condemned to execution by his ungrateful and then besotted
master, but the timely death of the monarch prevented the fulfilment of
the order.

6. Chang Fei (Jap. Choéhi) feasting before the camp of Ts'ao-

T’s’ao.
Chang Fei was united by a bond of sworn brotherhood with Kwan Yi
and Liu Pei and, like them, emerged from a humble position to win
undying renown in the Wars of the Three Kingdoms. It is related that
when he was fighting against Ts’ao Ts’ao (Jap. Sd-sd), to draw the
enemy from a place of vantage in the mountains, he pretended to have
given himself up to carelessness and debauchery. The general of Tsao
Ts’ao, perceiving, as he thought, the hostile chieftain seated with some
boon companions on the open ground in the midst of their camp, drinking
and making merry, believed the favourable moment had arrived for an
attack, and gave the signal for advance; but when his troops drew near,
it was discovered that the supposed revellers were figures of grass. Before
the victims of the strategy could recover from their consternation, fires
burst out upon the heights in their rear, and Chang Fei, suddenly
appearing at the head of his army, faced them, brandishing a lance eighteen
feet in length, and with bloodshot eyes gleaming like a hundred mirrors,
roared out his name in a voice of thunder, then rushing with his followers
upon the opposing host, put them to flight (#-hon Ridzai). It is said that
when he menaced the army of T's’ao Ts'ao, a general who stood near to the
king fell dead with terror at the sound of the terrible voice, and the king
himself fled headlong followed by his host. The fugitives in their mad
haste knew not friend from foe, but crushed and killed each other, making
a noise like the rolling of the ocean tide or the crumbling of a falling
mountain (Oshikubai). He died a.p. 220 by the hand of an assassin.

7. Ts’ao Ts'ao (Jap. Sds0) watching the flight of crows.

Ts’ao Ts:ao was the most prominent character in the great drama of
history forming the epoch known as that of the ‘Three Kingdoms’ (a.p,
221-264). “He was the son of a military official of obscure rank, but
by means of his sword, exercised first against the Yellow Turban insurgents
in A.D. 184 and later against the usurper Tung Cho, he raised himself to such
power that on the death of Tung Cho, in A.D. 192, he was able to aspire to
the possession of the throne. He defeated his rival Liu Pei in a.p. 195, and
after placing the imbecile Emperor Hien Ti in forced confinement, he took
the reins of empire into his own hands, but without assuming regal title.
About twenty years later he threw the consort of the monarch into prison,
slew her two sons, and proclaimed his daughter Empress, Soon after he
 URKIYO-YE RIvU. 381

assumed royal dignities with the title ‘Prince of Wei.’ He died in a.p.
220, and was succeeded by his eldest son Ts’ao 了Pei” (See Mayers’
‘Chinese Reader’s Manual,’ p. 1, No. 768.)
He is figured in the Sha hd Bukuro, vol. vii., as in the drawing, standing
in a boat watching the flight of two crows towards the Nan Ping moun-
tains in the country of Wu, and composing a poem in reference to the
incident.
Painted by Kid St-x10. Signed. Seal. Nineteenth
century.
See also Nos. 814-5.
MODERN OR ARTISAN UKIYO-YE.
1747. Kakémono, on silk, painted in colours. Size, 212 x 323.
Tamétomo and the demons at Onigashima.
The Japanese hero is seated grasping a bow while three muscular
demons strain with unavailing force at the string, and a fourth,
apparently worn out by previous efforts, looks on with a baffled
scowl.
The work is very characteristic of the painter in its firm, freely-
drawn outline and somewhat heavy colouring, as well as in the
remarkable vigour and expressiveness of the principal figures. Two
small birds flying off in terror strongly recall certain of the cuts in
the Mangwa.
Painted by Hoxu-sar. Signed 及 ATSU-SHIKA Hoxv-sat.
A poetical inscription relating to the subject is written upon
the picture by Bakin, the celebrated novelist. This is dated ‘On
the last night (of the year), in the height of winter of the cyclical
year of the sheep in the period Bunkwa (4A.D. 1811). Written by
Kiokutei Bakin.”
The following note is placed inside the case :一
“My7 grandfather Hirabayashi Shogoro (Bakin) published the life
of Chinzei Hachiro (Tamétomo) in the early part of the period
Bunkwa (1804-17), with the title of Yumi hari dzu-ki. This picture
has since been handed down in his family, and was repaired by
Shogoro, the third in descent, in the month when the chrysan-
themum is in bloom (the ninth calendar month) of the cyclical
year of the Tiger, in the period Kayei (1854),”
Tamétomo, the grandson of Yoshiiyé (Hachimantard), was a famous
archer who lived in the latter part of the twelfth century. He is described
as standing seven feet high and having the left arm of such inordinate length,
that he was able to draw the bowstring eighteen hands breadth from the
arrow-head, his bow being eight and a half feet long, and requiring the
strength of three ordinary men to bend it. He was banished to Oshima,
an island south of Yedo bay, for his share in the civil wars, and to render
him powerless, the tendons of his arms were cut. According to the Hagen
Monogatari he committed suicide in this place of exile; but a current
legend traces him to the Liukiu Islands, where he is said to have settled,
 382 JAPANESE PICTORIAL ART.

his son becoming the first historical king of this tributary group, which is
now reduced tothe position of a Japanese province.
He is fabled to have visited the Isle of the Demons (Onigashima) and
to have there demonstrated his own physical superiority over the evil
tenants of the place, to their great discomfiture. This episode is the subject
of Hoxusat’s painting.

1748. Kakémono, on silk, painted in colours. Size, 18} x 284.

Scene on the Sumida River. Suburbs of Yedo.
The principal object is a pleasure-boat containing a party of men
and geishas. To the left, a ferry-boat conveys a soberly-attired
merchant and his servant across the stream.
Painted by Hoxu-na, Signed Txr-sar. Seal. Nineteenth
century.

1749. Kakémono, on silk, painted in colours. Size, 15} x 24%.

The Battle of Ogaki. (See No. 261.)
The fighting, which is of a rather desultory nature, is going on
in the foreground of the picture. Some of the combatants are
armed with match-locks, others with sabres; some are bearing off
the heads of their slain foes in triumph, while others are tending
their wounded comrades, ready, if necessary, to discharge the friendly
office of decapitating them should their injuries be deemed beyond
the relief of native surgery.
Tyéyasu and his staff are seen in the background, and on the left
is shown, by a fiction of point of sight, the interior of the castle, in
which the wounded are receiving succour from the ladies of Hidé-
yoris Court.
Painted by Ha-si-cawa SET-TEI Signed. Seal. Nine-
teenth century.

1750. Kakémono, on silk, painted in colours. Size, 153 x 211.

Women making “ Asakusa nori.”
Painted by Ha-sit-cawa Ser-rer. Signed. Sealed. Nine-
teenth century.
“ Asakusa nori” is a preparation of an edible seaweed much in favour
with the people of Yedo.»

1751 and 1752. A pair of kakémonos, on silk, painted in colours.

Size, 241 x 31.
Low tide at Shinagawa, on the third day of the third
month.
A busy crowd of “mudlarks,” of both sexes and all ages, are
gathering the objects left by the recession of the waters, while the
 UKIYO-YE Riv. 383

still navigable channels in the bed of the stream are occupied by

pleasure-boats.
Painted by Ha-si-cawa Ser-rer. Signed. Seal. Nine-
teenth century.
Shinagawa is a suburb of. Yedo that extends for some distance along the
border of the bay. On the third day of the third month (old style) in the
year the fall of the tide in Yedo bay is very great, and the beach at Shina-
gawa is then a favourite holiday resort for the people, who may be seén in
crowds picking up shells and any flotsam and jetsam that the occasion
may bring within reach.

1753. Kakémono, on silk, painted in colours. Size, 423 x 111.

Courtesan.
The figure is characterized by the showy dress and the large hair
ornaments. The lower lip is painted green.
Painted by Icui-yo-sar Yosut-raxt. Signed Nant-wa
(Osaka) Yosui-raxr. Seal. Nineteenth century.
1754. Kakémono, on silk, painted in colours. Size, 372 x 113.
Geisha.
Painted by Yosui-rosut. Signed. Seal. Nineteenth
century.
1755. Kakémono, on silk, painted in colours. Size, 47} x 221.
Courtesan and attendant.
Painted by Kuni-axrt. Signed Toyo-xunr Kan-stn Icur-
YO-SAI 及 UNI-AFKI， Seal. Nineteenth century.
From the great exaggeration of dress and ornament in the principal
figure, the original was probably a woman of considerable notoriety.
The outer robe and sash (obi) bear the device of the Storm Dragon, and
the dress of the servant is decorated with the same design. The use
of startling dress patterns appeared to have been the fashion amongst
the leading members of the sisterhood, the extreme of which is shown in
No. 697, where the entire robe is covered with a complicated and ghastly
representation of the tortures of hell.

1756. Kakémono, on silk, painted in colours. Size, 372 x 13.

Tora and Soga no Goro.
Tora, standing upon a high balcony is gazing after the departing
figure of her lover.
This picture illustrates the early efforts of the popular artists to
incorporate with the national style the new ideas derived from -
outside sources. The drawing of the figures and landscape is -
purely Japanese, but the balcony from which Tora signs an adieu
to Soga is represented in perspective. Unfortunately the lesson had
been only half learned, and although the various lines converge
384 JAPANESE PICTORIAL ART.

towards a vanishing point, this point is made to fall very wide of

its proper situation.
The face of the woman has the exaggerated traits by which the
later popular artists were accustomed to express their ideal of
aristocratic beauty. The type was characterised by a long oval
contour, strongly aquiline nose, small and very oblique eyes, and
thin lips, peculiarities that reach their highest development in
the more recent chromoxylographic theatrical portraits and were
originally drawn from noted actors.
Painted by Huzro-suict. Signed. Seal. Nineteenth
century.
The Soga brothers, Sukénari or Juré and Tokimuné or Gord, were the
sons of Kawadzu Sukéyasu, who had been killed by Kudo Sukétsuné, At
the time of their father’s death the brothers were children, but a determi-
nation to revenge his murder grew with their growth. When the elder had
reached the age of twenty-two and the younger was in his twentieth
year, a hunting party of Yoritomo, at which Sukétsuné was to be present,
afforded the long-desired opportunity. They awaited their victim’s return
to his home, and in the dead of night made their way into his house to find
him given into their hands in the helplessness of a drunken sleep. The
younger brother raised his arm to strike the fatal blow, when Sukénari
stayed him, saying that “to kill a sleeping man was no better than hacking
a corpse;” and they cried aloud, “The Soga brothers are upon you!”
Sukétsuné, startled into consciousness, had but time to recognise his
enemies before falling under their swords, Sukénari’s refinement of revenge,
however, had given the alarm and the house was in tumult. The elder
was attacked and slain by Nitta no Shiro, and the younger was secured
by Gordmaru after an obstinate resistance, and brought before Yoritomo.
The youth and bold bearing of the survivor pleaded for him with the stern
Shégun, but the son of the slaughtered man clamoured for the destruction
of his father’s executioner, and Tokimuné was condemned to death. ‘The
story, as told in the Buké Hiorin, is very pathetic, and gives an interesting
picture of the chivalry of old Japan.
The following are the episodes most commonly represented in connection
with the life of the brothers :一
1. A trial of strength between Soga no Gord and Asaina Saburo. Asaina,
wishing to compel Soga to enter a room, has seized one of the skirt lappets
of his armour. Soga resists, and the strength of the two men is so great
and so equal that the powerful cords of the lappet are rent asunder. The
popular artist carries the story a step farther, and depicts the natural result
of a sudden cessation of resistance under the circumstances—the heroes
sprawling unheroically upon their backs.
2. Soga no Juro riding upon a horse, which he has taken from a coolie,
to join his brother in Oiso with the news of the approaching hunting party.
3. Tora, a courtesan of Oiso and the mistress of Gord, making signs to
her lover—or giving the brothers admission to the house of Sukétsuné.

1757. Kakémono, on silk, painted in colours. Size, 232 x 143.

River scene.
Painted by Hrro-suian. Signed. Seal. Nineteenth century.
 UKIYO-YE R1U. 385
1758. Kakémono, on paper, painted in colours. Size, 28 x 445,
Holiday ceremonial.
A number of persons, of various ranks and occupations, are
pulling ropes attached to a branch of a huge pine. All present
appear anxious to take part in the performance, and new-comers
are joining the group from all sides. The meaning of the cere-
mony has not yet been ascertained.
Artist unknown. No name or seal. Nineteenth century.
1759. Kakémono, on silk, painted in colours. Size, 31% x 12). .
Street scene in Osaka.
The fore-ground is occupied by an animated group of coolies and
small traders.
Artist unknown. No signature. Seal (NAN-REN-SAI).
Nineteenth century.
1760. Kakémono, on silk, painted in colours. Size, 444 x 231.
The Hundred Coolies—“ Hiaku-fuku no dzu.”
The coolie treated from a humorous aspect. A few are following
their ordinary employments, but the majority are shown in moments
of relaxation—eating, drinking, quarrelling, bathing, smoking,
gambling, tracking fleas in the inner recesses of their garments, and
otherwise varying the monotony of their daily labour.
Roughly sketched and lightly tinted with colour.
Painted by Té-snrd SHIT-REI，of Osaka, “ by request and
for amusement.”
Signed. Seal. Nineteenth century.
1761. Kakémono, on paper, painted in colours. Size, 404 x 127.
The Hundred Courtesans “ Hiaku-jord no dzu.”
Painted after the manner of the last.
Artist unknown. Signature illegible, probably Kat-stn.
Seal. Nineteenth century.
1762. Kakémono, on silk, painted in colours. Size, 213 x 34,
The Seven Gods of Good Fortune on Shichi-ri no
Hama, or Seven ri Shore, near Enoshima.
A humorous view of the subject. Benten is riding upon an ox;
a boy is scattering upon the sand the takara-mono taken from
Hotei’s bag. Jurdjin amuses two other children with a hatful of
the precious articles. Ebisu and Daikoku are enjoying their leisure,
while the martial Bishamon good-humouredly loads his broad back
with their baggage. Fukurokujiu, carried through the air upon
20
386 JAPANESE PICTORIAL ART.

the Baek of his stork, approaches the party, and his sacred tortoise
swims in the sea in the same direction.
The picture is painted and mounted in burlesque of the Butsu-yé.
Painted by Hoxu-pa. Signed Trr-sar. Seal. Nineteenth
century.
1763. Kakémono, on silk, painted in colours. Size, 42} x 172.
Geisha on the banks of the Sumida.
Features very SOR CRON AL dress and sash decorated with designs
of fishes.
Painted by Hoxu-pa. Signed Ter-sar. Seal. Nineteenth
century.
1764. Kakémono, on silk, painted in colours. Size, 632 x 183.
A ghost. fa
A weird female figure, with ghastly corpse-like features and
dishevelled hair, floating upwards out of the confines of the picture.
The illusion is effected by replacing the usual brocade bordering by
an imitation mounting painted on the margin of the silk upon
which the subject is designed. A similar expedient is adopted in
No. 1164.
Painted by Maxr Cuoxv-sar in the first month of the
year 1862. “ By order of Mr. Sawai.” Signed. Seal.
1765. Kakémono, on silk, painted in colours. Size, 333 x 16.
Portrait of a courtesan.
A girl with a pleasing and intelligent face and blackened teeth,
seated in Japanese manner, holding a long tobacco-pipe.
The picture is evidently from life, and shows an unusual attempt
at naturalism in the high lights upon the hair-pins.
Painted by Issun-sar Yur-yo. Signed. Seal. Nine-
teenth century.

1766. Kakémono, on paper, painted in colours. Size, 447 x 17.

Roadside scene. |
Travellers taking shelter during a passing shower.
Artist unknown. No signature. Seal. Early part of
nineteenth century.

1767. Makimono, on paper, painted in colours, with text. Size,

654 x 123.
Scenes from the life of an actress.
The drawings show a young and beautiful actress dressing and
painting for a series of masculine parts, and engaged in her per-
 UKIY0O-YE RI1U. 387

formances on the boards. After the last of these representations,

the character of the roll changes. The girl, who has become
enceinte, has resumed the attire of her sex; she has fallen into the
hands of a woman, apparently a jealous wife, who after subjecting
her to a number of revolting brutalities, compels her to commit
harakiri, and tearing the unborn infant from the dead body, butchers
it without remorse. Then follow a ghastly series of dissection
of the corpse of the mother; and the artist, who seems to revel
in horrors, does not leave the remains till they are hacked into
scattered fragments to become the food of pariah dogs.
The text is long, and is regarded as a good specimen of calligraphy.
An inscription at the end of the roll states that the work extended
over a space of fourteen years, terminating in 1862.
Painted and written by Ama-no Kisser.
1768. Makimono, on paper, painted in colours. Size, 270 x 108.
The story of Peachling (Momo-raro).
A roughly sketched copy of an older roll. The incidents in the
life of the little hero are traced from his childhood, to his conquest
of the demons and his return to the cot of his adopted parents with
the Takara-mono which he had received as a tribute from the
subdued retainers of the King of Hades. The story is told in
Mitford’s ‘Tales of Old Japan.’
Painter unknown. Nineteenth century.

1769. Makimono, on paper, painted in colours. Size, 360 x 103.

A Japanese Brobdignagia.
The roll depicts, in a series of sketches, the adventures of a party
of pleasure-seekers who have accidentally been thrown into contact
with a race of giants.
1. Shows the occupants of a couple of pleasure-boats at sea,
startled in the midst of their merry-making by the appearance of a
gigantic fish, which is advancing towards them with yawning
jaws.
2. The fish, after having engulphed one of the boats entire, with
its passengers and crew, has been caught by fishermen of a giant
race, to whom the creature has but the proportions of a salmon.
It has been laid open, exposing its strange load, as unhurt as Jonah
in the whale’s belly, to the great astonishment of the Brobdignagian
witnesses of the disinterment. ‘'T'wo of the pigmy excursionists are
being displayed in the ample area of a saucer to a giant of venerable
and not unamiable aspect, who is engaged in devouring a meal of
rice and other comestibles & la mode Japonaise. The boat is still in
the body of the fish, and the boatman, beside himself with alarm,
tries to punt his craft through the mass of intestines amid which
its bottom is entangled.
号 二 马
388 JAPANESE PICTORIAL ART.

3. The ancient giant has caused the boat to be floated in a large

plate, and watches its management by the boatman with great
interest. The passengers inside appear to have completely re-
covered their usual equanimity.
4, The adventurers have undertaken to shampoo their host by
machinery, and having erected a scaffolding over him, are pounding
his loins by means of a pile-driver worked with ropes. The patient
lies upon his stomach, smoking his pipe with an air of placid
enjoyment of the process.
5. A second scaffolding has been constructed to enable the
adventurers to reach the ears of the giant, in order to relieve the
passages of superfluous cerumen. The fruit of their industry with
spade and hatchet is already visible in the shape of a huge brown
heap, which is rapidly growing by fresh contributions lowered in
basketfuls from the seat of operations.
6. A portion of the little group are continuing their personal
attentions to the comfort of their host by endeavouring to haul out
the rope-like hairs from his nostrils; but three of their comrades
have fallen into misfortune from the sportiveness of a mischievous
young Titan who has thought fit to try the experiment of shutting
them up in the air-tight compartments of a medicine-box. They
have been released, considerably the worse for the pleasantry, and
the author of their danger is undergoing a sound rating from a
mature individual of military aspect, who appears to stand in
paternal relation to the culprit.
7. The party, seated calmly upon a leaf as large as four mats,
are being wafted across the ocean by a wind raised with an
enormous fan, manipulated by one of the Brobdignagians.
8. The story is terminated by a view of the Peerless Mountain,
the towering summit of which serves as a pillow for the head of the
aged giant. We are fain to assume that the journey of the party
whom we left in mid-air upon the loquat-leaf has reached a
happy termination.
There is no text appended to the roll, and inquiries have failed
to trace any familiar legend explanatory of the pictures. The story
bears no resemblance to that of ‘ Wa-sau-biyauwe,” the Japanese
Gulliver, which has been translated by Mr. B. H. Chamberlain in
the pages of the ‘ Transactions of the Asiatic Society of Japan.’
The sketches appear to have been made as a preliminary to a more
finished work.
Artist unknown. No name or seal. Nineteenth century.
1770. Makimono, on paper, painted in colours. Size, 262 x 134.
“Hana-mi no dzu.”
Holiday making in the flower season. See No. 1707.
Artist unknown. No signature or seal. Nineteenth century.
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 UKIYO-YE RIU. 889

1771. Unmounted picture, on cotton fabric, painted in colours.

Size, 144 x 53}.
The slaughter of the Nuyé.
The Nuyé, a composite beast with the legs of a tiger, the head of
a monkey, and a serpent tail, has been brought to earth by the
shaft of the Court noble Yorimasa, and is being despatched by the
Samurai retainer Ii no Hayata.
The two figures are essentially theatrical in conception, and
probably represent stage celebrities.
Painted by Ura-cawa 玉 UNI-TOSHI， Signed Hara Kount-
TOSHI， Seal. Nineteenth century.
Minamoto no Yorimasa, the fifth descendant of Yorimitsu of Shiiiten-
ddji fame, was renowned as an archer, horseman, and poet. His chief
exploit was the slaughter of the Nuyé. The legend tells that on the fourth
month of the third year of Ninpei (1153), the Emperor became afilicted
with an illness, and at the same time a strange “bird ” was heard to sing
every night upon the roof of the Imperial palace. Yorimasa then brought
forth his bow and shot an arrow into the gloom in the direction of the sound,
and immediately there crashed upon the ground a creature such as never had
been seen before by man: it had the head of a monkey, the back of a badger,
the feet of a tiger, and a tail like a snake. Undaunted by its fierce aspect
Ti no Hayata, the trusty retainer of Yorimasa, sprang upon it and despatched
it with his sword, and immediately the Eneperor’s sickness disappeared.
Yorimasa was rewarded for his deed by the gift of a sword and the hand
of one of the ladies of the Court. (See Zenken kojitsu, vol. vi.)

1772 to 1776. A set of five unmounted drawings, on silk, painted

in colours. Size, 6} x 83.
Miscellaneous Sketches.
1. Racoon-faced dog (Tanuki), dressed as a priest. The animal
is cautiously inspecting a trap baited with a dead rat. (See
No. 2776.)
2. Frog swimming.
3. Rats and capsicum pods.
4, New-year’s symbolical decorations. Cray-fish, oranges, fern-
fronds, and go-hei.
5. Kusunoki Masashigé delivering the ancestral roll to his son
before committing suicide.
Painted by Karsu-sumxa Hoxv-sar. All are signed with
the Svastika (Jap. Man-ji),a mark adopted by the artist
in his old age, and occasionally prefaced by the characters
Sen Hoxv-sar or “ formerly Hoxv-sat.”
In manner of painting these sketches differ considerably from
the rather heavily-coloured pictures of the earlier periods of Hoxu-
sAl’s work, and approach more nearly to the style of the Korin
school than to that followed by most of the popular draughtsmen.
Kusunoki Masashigé is one of the most famous examples of courage and
390 JAPANESE PICTORIAL ART.

loyalty in Japanese history, and his meritorious deeds are recited in the
book Nanké Sei-chit gwa-den, illustrated by Katsugawa SHunTEI (1815).
In the first year of Genk6 (1331) he was designated by the Emperor to
defend the cause of the throne against the rebel Takatoki. With a
garrison of only five hundred he held the castle of Akasaka against a large
army under Sadanao, and at a later period defended the fortress of Chihaya
with a garrison of nine hundred, holding the place by a variety of stratagems
until the enemy were compelled by lack of supplies to raise the siege:
finally he quelled the insurrection, and Takatoki and his leaders were
executed. A few years later, in 13836, he was pitted against a more for-
midable foe in Ashikaga Takauji. Again he won a victory for the Imperial
forces, and suggested a scheme for wholly crushing the Ashikagas, but his
advice being rejected, he precipitated himself into an unequal conflict
against a large army under Takauji, Nearly ali his retainers died fighting
around him, and at last, the day lost, he retired with his brother, the
survivors of his staff, and sixty followers, to a farmer’s house in Minato-
gawa, where the whole number committed suicide. Thus, at the age of
forty-three, died one of the most skilful and devoted soldiers of the empire.
It is recorded that before ending his life he calied his eldest son before
him and gave to him the ancestral roll as a precious heirloom to stimulate
him to preserve the renown won by his predecessors.

1777. Unmounted drawing, on silk, painted in colours. Size,

74 x 7h.
The “tongue-eut sparrow.”
An old woman falls shrieking with terror at the apparition of a
troop of goblins issuing from a large box which she has just opened.
The two most prominent figures amongst the ghostly tribe are the
“one-eyed urchin” (Hitotsu-mé ko-z6), and an evil spirit with a neck
of enormous length, terminated by a rather comical head with three
eyes (a combination of the Rokuro-kubi, or “ whirling neck,” with
the Mitsu-mé ko-z6, or triple-eyed child).
The story has been translated in Mitford’s ‘Tales of Old
Japan’ and Griffis’ ‘ Japanese Fairy World.’
Artist unknown. Seal. Nineteenth century.
1778. Unmounted drawing, on silk, painted in colours. Size,
9x 72.
View of the shore of Yedo Bay.
Copied from a picture by Hoxv-sar. Artist unknown.
1779 to 1816. A set of thirty-eight sheets of drawings, on paper,
painted in monochrome and colours. Sizes various.
Miscellaneous sketches,
These embrace a few historical and legendary subjects of great
interest: the chief of these are as follows :—
(17.) Tomoyé Gézen slaying Morishigé.
Tomoyé, or Tomoyé Goézen, the concubine of Kiso Yoshinaka (12th
century), was celebrated for her bravery and strength. She followed
 UKIYO-YE RIU. 391

Yoshinaka in the wars and performed many deeds of valour, the most notable
of which were her combat with the stalwart Morishigé of Musashi, whom she
conquered and beheaded; and her trial of strength with Wada Yoshimori,
when the two antagonists struggled with such vigour for the possession of
a young pine-trunk with which the latter had armed himself, that the
tough fibres of the huge club, twisted in opposite directions, were rent
asunder. After the death of Yoshinaka she ended her days in retirement
as a nun.

(18.) Hadésu killing the Korean tiger.

Kashiwa-déno Omi Hadésu, was sent, accompanied by his family, as
an ambassador from the Emperor Kimmei to Korea, in a.p. 545. On
one showy night during his stay in that country his little daughter
was lost. All research was in vain, until at last a bloody track marked by
the footprints of a tiger gave a sad clue to the mystery, and the father, deter-
mined to avenge if too late to save the child, followed the beast to its lair.
When he reached the den the tiger was on the alert and came towards him
with open mouth, but Hadésu, thrusting his hand between the yawning
jaws, seized the creature’s tongue and plunged a sword into its body.
(Zenken kojitsu, vol. viii.)

(19.) Abé no Seimei studying an astronomical diagram.

Abé no Seimei was a great astrologer who lived about the middle of the
tenth century. He was a descendant of the celebrated poet Abé no Naka-
maro, and is said to have been the offspring of a white fox who had
assumed the form of a girl with whom his father was in love. His necro-
mantic powers have served as a foundation for many stories.

(25.) The Nine-tailed Fox (Krusi-no-Kirsuné).

The Fox in the folk-lore of China and Japan bears a worse reputation
than that conferred upon his European brother in fairy tale and fable. He
is a spirit of mischief, possessed of supernatural cunning and gifted with the
power of assuming various forms in furtherance of his wicked ends. The
sphere of his potency for evil enlarges with age. At fifty he is able to accom-
plish at will his most favourite and baneful metamorphosis into the semblance
of womankind ; at one hundred he can take the shape either of a young and
beautiful girl or of a wizard strong in all the powers of magic; and when
he reaches the term of one thousand years he becomes a Celestial Fox
characterized by a golden colour and nine tails, and may be admitted to
heaven. (See Mayers’ ‘Chinese Reader’s Manual,’ art. Hu.) It must,
however, be understood that the title of Celestial Fox does not necessarily
imply any pious tendencies, but, on the contrary, the dignity of the nine
tails often appears to bring only an augmented capacity for deceitful ways,
as exemplified in the stories of the Nine-tailed Fox who assumed the furm
of a beautiful woman and worked much ill in India, China, and Japan,
and of Ta Ki, the concubine of Chow Sin (12th century B.c.), who stimu-
lated the tyrant to the most fiendish cruelties, and was detected in her true
shape as a nine-tailed fox by the mirror of the Taoist priest. The fox, whether
of one or nine tails, is the centre upon which turn a thousand popular stories
both in China and Japan, where he is supposed to import many curious and,
usually, undesirable complications into human affairs, but occasionally taking
392 JAPANESE PICTORIAL ART.

a sentimental or beneficent part, as in the case of the white fox who fell
in love with a Japanese noble, and became the mother of the famous
astronomer Abé no Seimei; and in that of a vulpine veteran of thirty
centuries, who is believed to have lived for many years as a priest in the
temple of Dendzu-in in Koishikawa, where he compiled the records of the
institution, He is not, however, a common subject for the artist except
in the woodcut illustrations to the popular novelettes of the last hundred
years,
The animal is found in most parts of Japan, and even in the present
day may be met with stealing through the larger Yashiki gardens of Tokio,
or heard in the environs of the city making night hideous with the weird
note of his unmelodious bark. The superstitions as to his uncanny faculties
are still rife amongst the populace, and often secure for him a certain
degree of impunity in his predatory nocturnal excursions amongst the hen-
roosts.
Foxes are supposed to be the messengers of the Shintd god Uga no Mitama
cr Inari. Mr. Satow traces this connection to an etymological blunder
between the words Mikétsuné (a name of the divinity) and Mikitsuné.
The association of a multiplicity of tails with preternatural powers is
found also in case of the cat. (See the story of the Cat of Nabeshima in
Mitford’s ‘ Tales of Old Japan.’)

(31.) The dream of Rosei.

The dream of Lu Shéng (Jap. Rosei) is a curious story illustrating that
rapid action of the imagination by which the conception of a sequence of
events apparently extending over long periods of time may be compressed
within the space of a few moments. The real object of the legend is to point
out the vanity of human greatness. It is thus told in the L-hon kaji-dan :一
In the period Kai Yiien (a.p. 7138-742) of the 'T’ang dynasty there lived
aman named Lu Shéng. <A report having reached his ears that the
Emperor desired the services of wise retainers capable of aiding in the
conduct of government, he left his home and set out for the capital. On
arriving at the town of Kantan he rested at an inn, and there he fell in with
acertain Rishi. The two conversed of many things, Lu Shéng imparting all
his projects of ambition, till wearied with travel he lay down to sleep,
with his head upon a pillow lent to him by his new acquaintance, while
his host was beginning to steam some millet for supper. Now this pillow
had the magic property of engendering Dreams of Wealth. Lu Shéng
quickly sank into a doze, but scarcely had he closed his eyes when he was
aroused by the arrival at the inn of an Imperial envoy, who came to seek
him, bearing presents and a command that he should present himself at the
Court. He started joyfully to obey the summons, and reached the capital
in safety. There he appeared before the Emperor, and having the good
fortune to win approval by the expression of his opinions upon the govern-
ment of the country, he was at once appointed to an honourable post in the
administration, His rapid success, however, procured for him the jealousy
of his fellow-officials, who spread false reports that led to his degradation
and banishment to a distant province. Three years passed in exile, but at
length he was recalled to be again elevated to a position of honour; and
during three decades he continued to serve his country with varying reward,
till finally he attained the most exalted rank that could be conferred upon
a subject. Soon afterwards the Emperor died, leaving no heir, and Lu
 UKIY0O-YE RIU. 393

Shéng was chosen to marry the daughter of his late sovereign and to ascend
the vacant throne. In due course the marriage had issue in the birth of a
prince. Three years passed happily and the little heir was emerging from
infancy, when one day it happened, as he was amusing himself in a pleasure
boat upon the garden lake with the Empress and her attendants, that he
slipped from his mother’s hold and fell into the water, amidst the shrieks
of the spectators. The noise struck the ear of Lu Shéng, and he awoke—
to find his Kantan host had not yet completed the preparation of the millet.
He had learned that human wealth and poverty pass as in a dream. So,
taking leave of his companion, he abandoned his intention to seek fame in
the turmoil of public life, and returned to his native country to end his days
in seclusion,
A similar story, known in Japan as the “ Nanka no yumé,” or Dream of
Nan Ko, is related by Li Kung-tso, an author of the T’ang dynasty (see
Mayers’ ‘ Chinese Reader’s Manual,’ p.1, no. 513). Both legends are illus-
trated by Japanese artists, and the former is burlesqued in one of the
volumes of the Hokusai Mangwa, where the ambitious Lu Shéng, in his
dream of wealth and power, is represented by a sleeping porter of human
manure, whose fancy creates a pleasing vision of inexhaustible receptacles
of fertilising riches, The cut has been reproduced in ‘A Glimpse of
Japanese Art,’ but the author has misunderstood its meaning.

Painted by To-re1 Hoxv-sur. Signed. Kakihan.

One of the pictures bears the date of the 9th year of Bunsei (1826),
but it is uncertain whether the period named is that of the painting.

1817 to 1823. A set of seven unmounted drawings, on paper,

painted in colours. Size, 9 x 243.
The Nine Gods of Good Fortune.

Two ancient Shinté divinities are introduced in addition to the

seven personages forming the common group of Shichifukujin.
One of these, an aged man with long white beard, is Inari, the other,
represented as a boyish figure of gigantic size, is probably Okuni
nushi no Kami. The last picture shows two children acting the
fight of Yoshitsuné and Benkei.

Artist unknown. No signature or seal. Nineteenth

century.

1824. Unmounted drawing, on paper, painted in colours. Size,

72 x 18}.
Daikoku and Fukurokujiu. (See p. 30.)
The two divinities are wrestling in professional style; a little
boy acts as umpire, and the spectators are represented by rats.

Artist unknown. Nineteenth century.

394 JAPANESE PICTORIAL ART.

1825. Unmounted drawing, on paper, painted in colours. Size,

7% x 182.
The Rishis Gama and Tekkai. (See Nos. 703 and 1348.)
The spiritual essence of Tekkai has left the body and is going
through an acrobatic performance upon a stand, while Gama’s
familiar, the White Toad, balances upon a pole.
Painted by the same artist as the preceding.
1826. Unmounted drawing, on silk, painted in monochrome. Size,
113 x 173.
Carp.
In the style of the Shijé school.
Painted by Uta-aawa Toyo-xunt the Second. Signed
Go-so-tEI Toyo-xun1. Nineteenth century.
1827 to 1831. <A set of five unmounted drawings, on paper, in
colours. Size, 15 x 21}.
Scenes in Hades.
1. The sinner confronted with King Yama.
2. Judgment and execution.
On the left is the accusing mirror, before which the culprit is held
by a horse-headed gaoler. Another miserable creature is shrieking
to the King for mercy, and on the right the demons have commenced
their work of punishment. The artist’s imagination seems to have
rioted in the appalling details of his subject. The intense terror and
anguish of the condemned, the convulsive crispations of the wretch
down whose throat a tormentor pours a kettleful of molten lead, and
the grim ferocity of the devils are more suggestive of a dream of a
man on the verge of delirium tremens than the deliberate invention
of a comic draughtsman.
3, 4, and 5. Punishment.
The King of Hell is holding up his palm, from which two eyes
glare upon the malefactors. The details of the torture chambers
are too horrible for description.
Painted by Kié-sar. Signed. Seal. 1879.
1832. Unmounted drawing, on paper, painted colours. Size,
15 x 20%.
Buddhist subject.
Atchala (Fudé), mounted upon an animal resembling an antelope,
is making a raid upon a number of flying men and demons, amongst
whom he distributes castigation with the utmost impartiality.
Painted by Kio-sar. Signed. Seal. 1879.
 UKIYO-YE R1U. 895

1833. Unmounted drawing, on paper, painted in colours. Size,

15 x 21.
Buddhist subject,
A four-armed Atchala, riding upon a wild boar, is driving away a
number of dismal goblins, which apparently typify the evil passions.
Painted by Kio-saz. Signed. Seal. 1879.
1834. Unmounted drawing, on paper, painted in colours. Size,
15 x 203.
Fight between men and demons,
Two men, one armed with a stick, the other with a sword, are
resisting the attack of a band of devils. One of the demons has
seized the comparatively unprotected mortal, and is biting his leg
with the ferocity of a wolf.
Painted by Kio-sar. Signed. Seal. 1879.
1835 to 1846. A set of twelve drawings, on paper, painted in
colours. Size, 15 x 203.
Goblins.
Drawn after the style of the ‘Night Journey of the Hundred
Demons to the Rising Sun.’ (See No. 262.) Some of the apes are
copied from an old Tosa roll.
Painted by Kio-sar. Signed. Seal. 1879.
1847 to 1894. A set of forty-eight unmounted drawings, on
paper, painted in colours. Size, 15 x 21.
Humorous Sketches,
1. Men chased by wolves.
2. “Turning the tables.” The Frogs and the Snake.
The frogs have captured their natural enemy the snake, and
having lashed him firmly to a couple of stakes are avenging past
injuries by dancing, drumming, and swinging on his body, pulling
his tail, tickling him with a straw, and otherwise jubilating over
his present impotence.
3. The Rats and the Cat.
A cat has fallen under the power of the rats, who are tantalizing
and insulting their imprisoned foe. The corpse of a kitten, probably
the offspring of the captive, is laid out upon a saucer before its face.
4, Tengus as mountebanks.
5. The attack of the Eagles upon the Tengus. (See
No. 2125.)
6. The Knights and the Demons.
A big-nosed warrior is making havoc amongst a number of
demons, while a companion, who appears to be seeing fair play, is
barring the way against the escape of one of the crew.
396 JAPANESE PICTORIAL ART.

7. The warrior Fishes expelling the Octopus and Molluscs

from their domain.
8. Procession of frogs.
9. Race between hares and monkey.
10. Street scene. Mountebank and marionettes.
11. Yoshitsuné fencing with the Tengus.
The hero has alighted upon the long nose of one of the Tengus,
to the serious discomfort of the possessor of the organ.
12. A mock Shint6 procession.
The leading priest is represented by a sombre-looking cat, the rest
of the train by rats.
13. The return from hunting. Burlesque.
14, Mountebank Tengus.
15, The round of robbery.
A kite has carried off a fish belonging to a townsman, and while
the bystanders neglect their own affairs to shout after the feathered
robber, thieves of the canine, feline, and human species take the
opportunity of making free with their effects. The Japanese method
of filching the purse and pipe-case by means of a hooked stick is
here shown.
16. The Signs of the Zodiac, more or less humanized,
engaged in general combat.
Only nine out of the “ twelve animals” are exhibited.
17 and 18. Mock festival procession.
The parts of men taken by hares, foxes, cats, monkeys, and other
animals.
19. Comic dance.
The performers are animals of various kinds.
20. Archery practice of monkeys and other animals.
A wriggling tortoise of the soft, edible variety suspended hy his
tail from a scaffolding, is the unfortunate target. On the right,
the Kappa, a mythical relative of the victim, looks on at the pro-
ceedings with lively interest.

21. Demon assaulted by men armed with pestles.

The picture is probably a burlesque upon some historical legend.
22 and 23. Mask dance by street mummers.
24. Demon attacking a group of travellers,
25 and 26. Comic dance by various animals.
27. Men with demon masks terrifying a wayfarer.
 UKIYO-YE RIU. 897

28. Frog life.

A street scene, representing a portion of a popular festival, the
parts of men being played by frogs.
29. Demons.
A red-faced monster whose head and shoulders alone appear above
the surface of the soil is being hammered into the earth, like a huge
misshapen nail, by a party of smaller demons armed with mallets.
30. Tortoise amusements.
31. A demon attack upon a travelling-car.
32. The lion dance (Shishi-mai).
33. Frog dance.
34, Blind mendicants who have lost their way.
35. Decapitation scene.
On the left a decapitation is about to take place. On the righta
number of severed heads are seen suspended from a bar, and two
others have taken to themselves wings and fly off laughing at their
executioners. Near by, a man hanging by the neck from a tree
saves himself from strangulation, by resting his toe upon a head
which has rolled beneath his feet.
36. Demons as Samurai.
37. Monkeys, badgers, and hares.
38. The hunter captured.
A number of animals, foxes, hares, wolves, and racoon-faced dogs
are leading in triumph a man who crawls along with his captors
upon all-fours. The procession is headed by a large racoon-faced dog
borne upon the shoulders of two human coolies.
39. Frogs and snake.
40. The game of Ken, with demon players.
41. Wrestling match between a frog and a rabbit ; a monkey
acts as umpire.
42. Ken and wrestling by animals and goblins.
43. Blind mendicants quarrelling.
44, Street scene. The monkey leader.
45. Comic mask dance.
Painted by Kro-sar. Signed. Seal. 1879,
1895 and 1896. A pair of unmounted drawings, on silk, painted
in colours. Size, 173 x 24.
Japanese landscapes.
Thinly sketched on a gauzy silk.
Painted by Hrro-suict. Signed. Seal. Nineteenth
century.
398 JAPANESE PICTORIAL ART.

1897. Unmounted drawing, on silk, painted in colours. Size,

173 x 24.
Japanese landscape.
Painted by Jun-ser. Signed. Seal. Nineteenth century.

1898. Unmounted drawing, on silk, painted in colours. Size,

173 x 24.
Landscape.
Painted by Rri-suin. Signed. Seal. Nineteenth century.
1899. Unmounted drawing, on silk, painted in colours. Size,
142 x 211,
Bird.
Painted by Hoxvu-sar. Signed Tams-rcnt, late Hoxu-sat.

1900 to 1902. A set of three unmounted drawings, on silk, painted

in colours. Size, 124 x 363.
The processes of tea preparation.
A series of pictures showing the various steps in the preparation
of the leaf, concluding with the final ceremonials of presentation.
The nature of each of the processes represented is indicated by a
descriptive writing.
Painted by UWA-BAYASHI Sur-sen, Signed. Seal. Nine-
teenth century.
1903. Unmounted drawing, on silk, painted in colours. Size,
12) x 2732.
Japanese landscape, with figures.
A very modern production, probably executed for sale to
foreigners.
Artist unknown.

1904. Unmounted drawing, on silk, painted in colours. Size,

392 x 14}.
Courtesan and kitten,
Painted by Mo-xio. Signed. Nineteenth century.
1905. Unmounted drawing, on silk, painted in colours. Size,
173 x 513.
The Sun-goddess emerging from the cave.
The strong god Tajikari-o no Mikoto is seen dragging away the
great stone from the mouth of the cavern, exposing the luminous
 UKIYO-YE R1U. 399

face of the offended Amaterasu to her expectant fellow-divinities.

Koyané no Mikoto kneels, holding the sacred rope of rice-straw that
is to be stretched across the entrance to the retreat to prevent the
re-seclusion of the goddess. Uzumé no Mikoto, the Goddess of Folly,
has completed her song and dance, and moves away with a back-
ward glance of great satisfaction at the successful result of the
stratagem. In the background a number of figures in silhouette
appear dazzled by the sudden burst of light from the cave. 'The
cock, the fire, the mirror, the music, &c., are all in accordance
with the legend.
The drawing of the picture is after the manner of the Shijo
school.

Artist unknown. No signature or seal. Nineteenth

century.

The Sun-goddess Amatérasu was born from the left eye of Izanagi no
Mikoto during his purification in the sea after his visit to the infernal
regions. Her brilliancy induced her sire to select her as the Ruler of the
Heavens, whence her light might radiate over the universe, while her
brothers Susané (see No. 2036) and Tsukiyomi, the contemporary offspring
generated from the nose and right eye of Izanagi, were placed in dominion
over the moon and sea, Susand, who was the mawvais sujet of the not
very happy family, neglected his charge, cried incessantly, clamoured to
join his mother Izanami in the regions under the earth, and otherwise
comported himself in a variety of objectionable manners. At last, making
his way to the chamber in which his sister was spinning, he cast a flayed
horse at her feet, and caused her to hurt herself with the shuttle. The
indignant goddess, with a spirit more feminine than divine, immediately
resented the insult by shutting herself up in a cave, and so plunged the
universe in utter darkness.
The device of the gods to allure her from her retirement is shown, with
some variations, in the drawing. Fires were lighted and a large mirror
was suspended in front of the cavern. A god named Amé no Koyané no
Mikoto pronounced a highly complimentary address in honour of the
offended luminary; the goddess Amé no Uzumé no Mikoto, while her
companions kept time by striking two pieces of wood together, played an
air upon a bamboo flute, and then, waving a spear decorated with small
bells, commenced to dance and sing, finally closing her performance with
the complete display of her physical attractions to the spectators. The
curiosity of Amatérasu was so strongly aroused by the speech of Koyané
aud the din of Homeric laughter with which the gceds saluted Uzumé’s
last pleasantry, that she peeped out of her hiding-place to see what was
going on. Her gaze falling upon the mirror, which was at once thrust
before her radiant face, she was persuaded to emerge still farther from the
refuge, and the strong god Amé no Tajikara-o no Mikoto seized the oppor-
tunity to drag open the rocky door and lead her forth to rejoice the world
once more with her beams.
The legend is narrated in detail in an article entitled “The Shinto
Shrines of Isé,” by Mr. Satow. See Trans. Asiat, Soc. of Japan. 1874.
400 JAPANESE PICTORIAL ART.

1906. Unmounted drawing, on silk, painted in colours. Size,

223 x 423.
Courtesan and child.
_ Executed in close imitation of the more heavy style of colouring
of Hoxusal.
Painted by Hoxxet. Signed Awvi-oxa Hoxxer. Seal.
Nineteenth century.
1907 to 1928. A set of twenty-two unmounted drawings, on
paper, painted in colours. Size, 19 x 73.
Miscellaneous rough sketches.
Drawn after the style of Hanasusa ITCHO.
Painted by Ex-sar Riv-zan. Early part of nineteenth
century.

1929 to 2034. A set of one hundred and six drawings, on paper,

painted in colours. Size, 7 x 93.
Miscellaneous sketches.
Painted by E1-sar Riv-zan. 了 arly part of nineteenth
century.

2035. Framed picture (gaku), on silk, painted in colours. Size,

123 x 48%.
Jiraiya slaying the Giant Serpent.
The hero stands amidst his prostrate followers armed with a
matchlock as large as a cannon, while the dying reptile lying at his
feet emits its final breath, which is seen eddying away in the guise
of a thin vapour across the face of the moon. On the left an old
man of weird aspect, mounted upon a huge toad, appears to have
been aiding in the conflict. The irregularities of the adjacent
rocks have been made to assume the outlines of toads.
Artist unknown. No signature or seal.
The story of Jiraiya, by Kidden, a famous novelist of the begin-
ning of the nineteenth century, is well related by Mr. Griffis in the
“ Japanese Fairy World.” Divested of its Turpin-like romance, its main
incidents are as follows :一
Ogata Shitima, nicknamed Jiraiya, the son of a chieftain in Kiiishii, was
left destitute at an early age by a series of family calamities, and being
spurred by an ardent desire to build up again the fortunes of his ruined
house, he adopted as the most direct means to his end a course of theft
and murder that in strict justice should have brought him to the gallows.
The result of his early enterprises failed to satisfy his ambition, till at
length a curious adventure placed him in possession of powers that gave
a wider range to his efforts. It happened during one of his bandit
excursions that a heavy storm forced him to seek refuge in a lonely hut,
 UKIY0O-YE R1U. 401
ee
where he was received by its only inmate, a woman, with all the rites of
Japanese hospitality. After eating and drinking his fill, the hero retired
to rest; and in the dead of night, feeling his energies recruited for a new
step towards the restoration of the family glory, he stole into the chamber
of his entertainer, and seeing her apparently unaware of his presence,
raised his sword to strike off her head, as a preliminary to levying upon
her property a contribution towards the good cause. He had, however,
calculated without his hostess; for, as the blow was about to fall, her
form suddenly changed into that of an old man, who, springing up,
struck the weapon from his hand and held him at mercy. The strange
being was a Toad Spirit, gifted with the supernatural powers appertaining
to the reptile. Instead of requiting the treachery of his guest as it
deserved, the Genius, having by some inscrutable reasoning, arrived at
the conclusion that Jiraiya was the proper kind of person to rectify the
wrongs of the poor, instructed him in the secrets of the Mystic Art, and
at the end of some weeks discharged him, with injunctions to use his
new accomplishments for the good of the people.
From this time Jiraiya became a kind of Robin Hood—succouring the
poor at the expense of the rich, at the same time not neglecting to make
his public-spirited mission particularly advantageous to himself. His
renown grew apace, but one bitter drop poisoned his cup; his powers were
inferior to those of a rival magician who was the offspring of a venomous
snake and had inherited the Serpent’s necromantic cunning. Fortune,
however, again declared in his favour. A young girl, with all the virtues
and attractions that a Japanese damsel should possess, had been chosen
by a Snail Spirit to receive instruction similar to that for which Jiraiya
had been indebted to the Toad Spirit. Now the Snail Magic is superior
to that of the Serpent, and the hero, learning how richly dowered was the
maiden, wooed and won her, and by this accession of strength became
irresistible. Many adventures were shared by the couple, and at last
Jiraiya took part in a great faction struggle, in which his rival was
enlisted upon the opposite side. After a narrow escape from death by
the poison which the Serpent Magician contrived to instil into his veins
during sleep, a mighty battle afforded the hero an opportunity of joining
issue with his foe, and, as the picture shows, succeeded, with the aid of
the friendly Toad Spirit and a matchlock, in gaining the victory.
His services in the conflict were rewarded by his elevation to the rank
of Lord of the Province of Idzu, and he passed the remainder of his days
in the not obviously congenial pursuits of “reading the book of the
Sages; composing verses; admiring the flowers, the moon, and the land-
scape; and occasionally going out hawking and fishing. ‘There, amidst
his children and children’s children, he finished his days in peace.”

2036. Framed picture, on wood, painted in colours. Size,

83 x 103.
Susano-no-Mikoto making a compact with the Spirits
of Disease.
The spirits are grouped around the god. One ugly being, with a
horn upon his forehead and a mallet by his side, has just stamped
his inky palm upon the contract sheet by way of signature, leaving
2D
402 JAPANESE PICTORIAL ART.
the demon impress of a three-fingered hand. The representatives
of Measles, Small-pox, Elephantiasis, Mumps, and Itch are easily
recognisable, but the other ghastly embodiments of disease are
less open to identification. ‘Three corpse-like starvelings, one of
whom bears a large bundle on his shoulders; a hoglike creature with
a half human, half brutish head; a figure mottled with red blotches;
and a very stout, but youthful and otherwise decent-looking per-
sonage, who alone amongst the crew has black instead of red hair,
are probably meant to typify respectively Fevers, PER Erysi-
pelas, and Corpulence.

Painted by H6-ca after a picture by Hoxu-sar. On the

right is written, “ The picture of the ancient one, aged eighty-
six years.” On the left, “ Unskilfully copied by Hoga from the
picture of the ‘Old man of a hundred centuries.’°” - Dated
C

1860.
Susand no Mikoto, the “Impetuous Male,” was the motherless son of
Tzanagi, the creator of the sun and moon, the world and all things that
appertain thereto. He was generated during a bath of purification taken
by his sire after a fruitless expedition to Hell in search of his dead consort,
Izanami, and was appointed the Ruler of the Sea or of the Tides (in the
latter capacity he is by some authorities regarded as the Lunar Divinity).
He subsequently, however, appears freed from his marine dominions and
acting as the ancestor of a line of chieftains who settle in the provinces of
Idzumo and Yamato,
His career as told in Shintd legend is by no means divine or even
edifying. After behaving in a highly unbecoming manner before his
sister the Sun-Goddess, and causing her to retire in dudgeon into a cavern
(see No. 1905), he kills the Food Goddess, and is very properly turned
out of Heaven. He then descends upon the province of Idzumo in Japan,
and achieves the Perseus-like adventure of rescuing a fair damsel,
Kushinada Himé, from the jaws of an eight-headed dragon, which he slew
after having beguiled it into inebriety by the temptation of eight vessels
of saké, one for each head. Finally he marries, begets many children,
and fades from the scene.
Mr. Satow alludes to a very suggestive variation in the legends con-
cerning Susand, which makes him descend from Heaven Se i the Korean
Peninsula, from whence he crosses over to Japan.
See the Introduction to the Handbook for Japan, p. (68).

2037. Drawing (on panel), in two halves, painted in colours. Size,

41 x 254.
“ Yoro-no-taki.” The water changed into wine.
A woodman kneeling by the side of the cascade shows to the
Mikado a gourd containing the metamorphosed water of the fall.

Painted by I-Kawa Kwat-an Er-sat. Signed. Seal. Dated

1852.
 UKIYO-YE RIvU. 403

Y6rd-no-taki, a cascade about 70 feet in height, is situated five miles

from the town of Tarui, in the province of Mino (see ‘Handbook for
Japan,’ p. 247). The story is that of a poor woodman who had been accus-
tomed by dint of great industry to purchase wine for the use of his aged
father and mother, but was on one occasion unable to obtain means for the
usual luxury and sat down by the side of the cascade in profound distress
at the privation which his parents were to undergo; the gods, however,
desiring to reward his filial piety, converted the falling water into purest
wine. ‘The event is said to have happened in a.p. 717.

2038 to 2040. Three albums of drawings, on paper, painted in

colours. Size, 132 x 8}.
Ghosts and Goblins (BaxEmono). sl xa
The drawings, about a hundred in number, are roughly ‘but
vigorously sketched. A few are from the hand of Ku1désa1, me the
greater number are by an unknown artist.
The series form an almost complete résumé of the fo Sa
demonology of the Japanese. Most of the horrible or comic figures
portrayed in these volumes have an antiquity of many centuries, and
some are of Chinese origin.
Nineteenth century.

2041. Album of drawings, on paper, painted in colours, Size;

113 x 7. .
Comical Botany.
Flowers, trees, and fruit tortured into the eh eee of animal.
life. . :
Artist unknown. Nineteenth century.

2-9.2
404 JAPANESE PICTORIAL ART.

KO-RIN SCHOOL.

Tux K6-rin school owes its nameto O-GATA 及 5-RIN,a famous painter
and lacquer artist of the latter part of the seventeenth century.
The source of K6-rin’s early education in painting is a matter of
doubt. The Tosa school claims him as a pupil of Sumryosar Hiro-
zumi, while, according to the Wa-kan Shé-gwa Shii-ran, he was
taught by Kano Yasunosv, and other authorities maintain that he,
his brother Krnzan, and an associate named K6-no, had for their
master an artist named Honnami K6-versu (d. 1637), the grandfather
of Kono, who appears to have been an Admirable Crichton in the
polite accomplishments of his age. The works of KO-RIN present little
similarity either in drawing or colouring to those of any of the estab-
lished schools. They display remarkable inventive power, harmonious
colouring, and usually a vigorous and expressive drawing; but in his
delineations of the human figure and quadrupeds his daring conven-
tionality leaves even the Tosa school far behind. His men and women
have scarcely more shape or expression than indifferently-made dolls ;
his horses and deer are like painted toys, and even his floral pieces
can only be regarded as sketchy decorations. His reputation rests
chiefly upon his lacquer work, in which he attained a celebrity
even wider than that won by his brother Kenzan (1663-17438), in
the decoration of pottery, but his influence upon industrial design
in general was more strongly marked than that of any artist before
the time of Hoxusar. He died in 1716 at the age of 56.
He was known by many professional names, of which the most
familiar are SI-SEI-DO and CHO-KO-KEN.
There is no account of any immediate pupils outside the lacquer
industry, and it was not until the beginning of the present century
that his style was: revived, or anything deserving the name of a
school was formed. At this time a priestly admirer of his works,
 KO-RIN SCHOOL. 405

named H6-rrsv, a son of the Daimio, Sakai Uta no Kami, and chief
priest of the Nishi Hongwanji temple at Kioto, after having studied
all the existing schools undertook the foundation of a new Kérin
Academy. He published three collections of the designs of Konin,
and himself produced many pictures in the same style, which could
scarcely be considered inferior to those of the master. He attracted
some clever pupils to the cause, and has succeeded in rescuing from
comparative oblivion one of the most. original and characteristic of
the branches of Japanese pictorial art. He died in 1828 at the age
of 67 (Gonse).
H6-1rsu was as admirable as a painter of birds, as he was extra-
vagant in his drawings of men and women; but he had the same
graceful touch and the same instinct of harmony that reign in the
works of Kérrn, and has deservedly ranked high in the estimation
of his countrymen. The contrast in the quality of his work in the
two sets of motives will be illustrated by the comparison of Nos.
2104 and 2105.
The chief followers of the Korin style, after H6-11sv, were :一

O-no. Son of Ho6-rrsv.

Kr-1rsu. Pupil of Ho-rrsv. Died in 1858. See No. 2117.
Sur0-rrsu. Son of Ki-rrsu. See No, 2124.
K6-son (Ixipa). Pupil of H6-rrsv.
Ko-1rsu. Pupil of Ho-rrsv. See No. 2110 et seg.
H6-n1. Probably a pupil of Ho-rrsvu. See Nos. 2107-10.

The works of the school may be studied in the faithful reproduc-

tions offered by the following volumes :一
Makiyé daizen. Designs for lacquer decoration, including
several copies of the works of Ké-rin. By Hoxxro Haruxawa.
5 vols. 1759.
Ké-rin gwa-fu. Miscellaneous sketches by Ko-nrin. 1 vol.
Printed in colours.
Ko-rin hiaku-dzu. Miscellaneous sketches by Ko-nin; three
series, each in two volumes. First series 1815, second series
1826, third series 1864.
Ko-rin Mangwa. 1 vol. N.D.
Kenzan hiboku. Designs for keramie decoration by 了及ENZAN，
after the manner of Kor. 1 vol， Printed in colours. 1828.
406- JAPANESE PICTORIAL ART.

Banzé. sokugoshi. Miscellaneous sketches by H6-1tsv. 1 vol.

Printed in colours. 1817.
Ho-itsu Shonin. Shinsei kagami. Miscellaneous sketches. by
Ho6-1rsv, printed from two blocks. 2 vols. N.D.
0-hé gwa-fu. Miscellaneous sketches by H6-rrsv, printed in
colours. 1 vol. 1818.
Shasan-R6 gwa-fu. Miscellaneous sketches by Bun-cHo and
H6-1rsv. 1 vol. N.D.

Some very characteristic drawings by K6-nin have also been

engraved in the Gwashi Kwaiyé (1707). |
 ( 407)

KO-RIN SCHOOL.
一 -一 一 一

2101. Kakémono, on silk, painted in colours. Size, 364 x 133.

Flowers.
The treatment is decorative and conventional. The leaves are
painted with a wet ‘brush in such a manner as to produce grada-
tions of tint, partly accidental and partly related to the curves of
the blade, and the veins are outlined in gold. The colouring of
the blossom is perfectly flat.
This style is in some degree characteristic of the founder of the
school, who was unequalled as a decorative artist, but cared little
for realistic accuracy of drawing. His defects are illustrated still
more strongly in the following picture, but his true strength must
be learned by a study of his masterly works in industrial design.
Painted by O-cara Ko-rry. Signed. Seal. End of
seventeenth century.

2102. Kakémono, on silk, painted in colours. Size, 387 x 133.

The Tamagawa picture (TAMAGAWA NO DZU)，
The hero of the Isé Monogatari (supposed to be the poet Narihira)
on horseback fording the Tama river.
A fair example of the worst style of the artist. The poet
Antinous of the ninth century is reduced to a doll-like caricature;
the horse is almost worthy of a place in the Bayeux tapestry, and
the face of the retainer has no more expression than the yellow
flowers that are shown bordering the famous stream.
Painted by O-cara Ko-niy. Signed Sxr-ser Ko-rin. Seal.
End of seventeenth century.

2103. Kakémono, on silk, painted in colours. Size, 333 x 16%.

Crow and persimmon tree.
Painted by Ho-rrsu. Signed. Seal. Nineteenth century.
408 JAPANESE PIOTORIAL ART.
tes
re oe
n ee e
le a ge

2104. Kakémono, on silk, painted in colours. Size, 38% x 153.

Narihira crossing the Tamagawa.
Compare with No. 2102, The figures, judged by an academical
standard, might have been drawn by a child from his toys.
Painted by Ho-rrsu. Signed. Seal. Nineteenth century.
2105 and 2106. A pair of kakémonos, on silk, painted in colours.
Size, 393 x 158.
Fowls.
Two masterpieces, combining extraordinary delicacy and facility
of touch with a fidelity to nature rarely observed in the works of
the school. It is difficult to believe that these paintings came from
the same hand as the last.
Painted by Ho-rrsu, Seal. Nineteenth century.
2107. Kakémono, on silk, painted in colours, Size, 40% x 153.
Mandarin ducks. Winter scene.
Painted by HO-NIT， Signed. Seal. Nineteenth century.
2108. Kakémono, on silk, painted in colours. Size, 28 x 103.
Samantabhadra.
The god, represented in feminine form, is seated upon a white
elephant and holds a Chinese book.
Modified Butsu-yé.
Painted by Ho-ni. Signed Srt-ser H6-n1 YO-sHIN， Seal.
Nineteenth century.
2109. Kakémono, on silk, painted in colours. Size, 28% x 10}.
Fukurokujiu with white deer. (See p. 30.)
Painted by H6-nz. Signed Si-szr H6-nr. Seal. Nineteenth
century.

2110. Kakémono, on silk, painted in colours. Size, 333 x 10%.

Flowers.
Painted by Ko-rrsu. Signed. Seal. Nineteenth century.
2111 and 2112. A pair of kakémonos, on silk, painted in colours.
Size, 423 x 15}.
Carp and waterfall. (See No. 723.)
Painted by Ki-rrsuv. Signed Surser Ki-rrgv. Seal.
Nineteenth century.
 KO-RIN SCHOOL. 409

2113 and 2114. A pair of kakémonos, on silk, Sadie in colours.

Size, 313 x 11%.
Tiger and monkey,

The tiger differs little in appearance from the domestic cat, and
has none of the ferocious demeanour with which the Japanese
artist usually endows him. The bamboo and plum are introduced
into the picture as emblems of longevity. The monkey, which
replaces the dragon as a companion subject to the tiger, differs from
the common Macacus speciosus of Japan in the great length of its ears.
The animal, seated upon a high rock, holding in his hand a wand
with go-hei, probably represents one of the mountain divinities of
Japan. (See No. 673.)
Painted by Ki-rrsv. Signed Ser Ki-1rsu. Seal. Nine-
teenth century.

2115 and 2116, A pair of kakémonos, on silk, painted in mono-

chrome. Size, 432 x 18.
Bamboos.
The leaves and smaller twigs are represented, as usual, in
silhouette, but the mode of rendering the cylindrical contour of the
stem joints is a tour de force peculiar to the Kérin school.

Painted by Ki-rmsv. Signed Ser Krirsv. Seal. Nine-

teenth century.

2117. Kakémono, on silk, painted in monochrome. Size,15} x 16}.

Mandjus’r?. ’
The divinity is seated upon a lion and holds a Buddhist sceptre
(Nio-i).
Painted by Ku1-1rsu. Signed Set-szr Ki-rrsv. Seal.
Nineteenth century.

2118 to 2120. A set of three kakémonos, on silk, painted in

colours. Size, 38} x 13.
l and 2. Cherry blossoms.
3. Festival toys (hina).
A pair of highly conventionalized dolls, representing male and
female figures in Court dress. These are appropriate to the festival
of the third day of the third month (old style).
Painted by Surn-rrsv. Signed Mo-mv Surn-rrsv. Seal.
Nineteenth century.
410 JAPANESE PICTORIAL ART.

2121 to 2123. <A set of three kakémonos, on silk, painted in

colours. Size, 88} x 123.
The Three Gods of Good Fortune (SAN-FUKU-JIN)， See
p. 37.
1. Hotei with children.
2. Daikoku seated at the window of a granary.
3, Ebisu fishing.
Painted by Surn-rrsvu. Signed. Seal. Nineteenth century.

-2124, Kakémono, on silk, painted in colours. Size, 213 x 33}.

A summer evening in the suburbs of Kioto.
A picture of considerable interest in connection with local
customs. a oe
Painted by Surd-rrsv. Signed Sar-sEI Suri-rrsv. Seal.
Nineteenth century.

2125. Kakémono, on silk, painted in colours. Size, 88} x 11}.

Kintoki and the Tengus.
Kintoki, as a sturdy boy bearing the paraphernalia of a sparrow
catcher, is watching with professional interest the emergence of a
little tengu from a newly broken egg, while an attendant monkey
holds up his finger to impress silence and caution. Kintoki’s
basket, slung across his back, is already well filled with beaked
tengus, and one of the tribe just caught is struggling upon the
limed stick of his captor.
Painted by SN-zAN Sud-suit. Signed. Seal. Nine-
teenth century.
Kintoki was the son of a female mountain spirit (Yamauba), and was
adopted as a squire by Raiko, the hero of the Shiutendoji. - (See No. 2306.)
The Tengus are a mythical race who are supposed to haunt the moun-
tains and forests. They are of two kindsthe ordmary Tengu, which has a
human face and form, but is provided with wings and a long nose; and
the Karasu Tengu (Crow Tenga), distinguished by bird-like head and
claws and a more avial general conformation. In their relations with man
they are not supposed to have any especially evil tendencies, and in some
cases appear to be ready to do a good turn to any one who is deserving of
their services. Thus it was to the Tengu King that Yoshitsuné is sup-
posed to be indebted for the early fencing lessons which gave him such
unrivalled skill in the use of the sword. In later times the creature has
become almost wholly the property of the popular artists, who, taking
advantage of the comic feature in his countenance, turn his proboscis toa
variety of base uses in their portraiture, as a porter’s yoke, a juggler’s rod,
a brush-handle, or to any other office which the dimensions of the organ
may suggest to their fertile imagination. (See Nos, 1097 and 1104.)
 KO-RIN SCHOOL. 411

2126. Kakémono, on silk, painted in colours. Size, 363 x 13}.

Flowers.
Painted by KI-HO Suiai-naca. Signed Kr-n6, Seal.
Nineteenth century.
2127. Makimono, paper, painted in colours. Size, 243 x 11}.
Miscellaneous rough sketches of flowers, &c.
Painted by So-pd. Signed. Seal. Nineteenth century.
2128 and 2129. A pair of unmounted drawings, on silk, painted
in colours. Size, 55} x 19%. ;
Birds and flowers.
Painted by Hé-11sv. Signed Ho6-rrsu Her-suin. Seal.
Nineteenth century.
2130 to 2151. A set of twenty-two unmounted drawings, on paper,
painted in colours. Sizes various.
Tortoises.
- Swiftly sketched in monochrome and sparingly touched with
colour. Action admirably rendered.
Painted by To-nan. Signed. Seal. Nineteenth century.
2162 and 2153. A pair of unmounted drawings, on silk, painted
in colours. Size, 39 x 153. . ;
“No” actors.
1, The performer’s mask represents a youthful face, and his head
is covered with the form of hat called the Ebéshi. His outer tunic,
white traversed by blue zigzag lines, is ornamented with designs
emblematic of longevity (pines, bamboos, cranes and tortoises). He
holds a fan and wears a sword in his girdle.
2. The actor carries a set of small bells attached to a short stem.
His mask is that of a wrinkled negro; the hat is black, high, and
terminated by a flat triangular summit, and the dress is blue, but
bears the same figurative decorations as in the companion figure.
Painted by Kri-rrsvu. Signed Ssi-sexr K1-rrsv. Seal.
Nineteenth century.
2154 to 2197. A set of forty-four drawings, on paper, painted in
colours. Sizes various.
Miscellaneous rough sketches. Painted in ink and
lightly coloured.
Painted by So-p6. Signed. Seal. Nineteenth century.
412 JAPANESE PICTORIAL ART.

SHIJO SCHOOL.
一一 和 一- 一

Tat a careful study of nature is essential to secure the highest

results in art was occasionally admitted as a general principle
by the older painters of China and Japan, but their recognition of
the formula was qualified by a latitude of interpretation that
relieved them from any constraint it might have been expected to
impose upon their practice, Many of the old Chinese masters had
indeed observed nature while conventionalising it, and were in ad-
vance of some of their imitators, who often copied their works with
an enthusiastic faith that forbade analysis, re-conventionalising
conventionality, and magnifying the faults to which an admixture of
truth had only given currency, until the precious element was
scarcely assayable in the mass of calligraphic alloy. :
The first artist to modify Japanese art by the promulgation
and practice of realism was Marv-yama O-xio, the founder of the
Shijé naturalistic school. OFro was born in the province of Tanba
in 1738. He learned the rudiments of his art from a painter named
Isui-paAYu-TEI, whose name has reached posterity only by virtue of the
bond that links it with that of his pupil. There is no reason to suppose
that Yurer was the author of the idea which created the new school ;
for we are told in the Gwajo yoriaku that Ox1o’s education con-
sisted, as usual, in copying the most celebrated of the old drawings;
but as their study gave him no inclination to follow the rules of the
ancient masters, “he invented a new style, painting birds, flowers,
grasses, quadrupeds, insects, and fishes, from nature. His talents
were also manifested in the delineation of landscape and figure,
and he was a skilful colorist; so that his fame became noised
throughout the Empire ; all people learned by his example, and he
effected a revolution in the laws of painting in Kioto.”
There are many anecdotes, sayouring more of ingenuity than
 _ SHIJO SCHOOL. . 413

truth, recorded to show his powers of close imitation of nature.

One of these may serve as a sample of the whole. A patron of Oxto
having expressed a desire for a picture of a wild boar, the artist,
true to his principles of drawing only from nature, requested a
farmer who lived in an adjacent district, where the animals were
sometimes seen, to send him word should he ever find one asleep.
In due time a message came to say that the opportunity had arrived,
and Ox1o hastening to the spot found his model stretched upon the
ground in sound repose, and after having taken a careful portrait
withdrew without disturbing him. Some months later he seized
an occasion of submitting his drawing to the opinion of a person
who was extremely intimate with the appearance and habits of the
boar. This practical critic, after examining the picture closely,
at length said that although it had an exact resemblance to the
animal, it was rather like a sick than a sleeping boar, and explained
that the latent power of limb always evident in the healthy animal,
even during sleep, did not appear in the representation. Oxio saw
the truth of the remark, and in vexation tore up his sketch. He
thought no more of the matter until one day, happening to be in the
neighbourhood of the farmer who had sent him the summons, it
struck him to inquire what had become of the boar. The man
was eager to tell him of a curious circumstance in connection with
the incident—that the animal had never moved from the place in
which it was first seen, and the next morning was found dead.
The induction as to the realistic genius of the artist is obvious,
but a word of appreciation may also be reserved for the keen
criticism of the expert.
Notwithstanding the praise bestowed upon Oxio, a study of his
works proves that he lacked the full courage of his convictions.
Many of his pictures, especially those of birds and fishes, were
really true to nature in point of drawing, even in the most minute
details; but he still sacrificed, almost unconsciously perhaps, to the
altar of the old faith. His perspective was Chinese; his drawing
of the human figure showed but little more of anatomical truth than
that of his predecessors, and nothing worthy of the name of chiaro-
oscuro appeared in any of his pictures. Nevertheless there was a
novel and intelligent grace in his most characteristic sketches,
which, in association with the technical skill and sense of unobtru-
sive harmony derived from his early study of the old masters,
 414 JAPANESE PICTORIAL ART.

insured him a success that was only inferior to that merited by his
bold assertion of independence.
. In the periods Anyei and Temmei (1772 to 1789), when his prin-
cipal works were executed, his reputation secured. for him the
highest support. Full of radical ideas for art, he had taken the
bold step of establishing himself in Kioto, the centre of all that was
conservative in Japan; but his genius sanctified his heresy, and at
length he succeeded in attracting to his cause the greater section
of the rising talent of Kioto, who eagerly sought his instruction,
and formed the nucleus of the new Academy, which received its
name from the street in which the artist had fixed his studio. He
lived to see the influence of his teaching spread on all sides, even to
the older schools which affected to find all that was worth knowing
in the masterpieces of the ancients.
His reward, like that of Moronosu and Hoxvsat, came after fhe
meridian of life, but he did not live so long as these veterans to enjoy
it. He died in 1795, at the age of sixty-two—a fair term for the
Japanese in general, but a short one for the painters, who as a body
appear to have been gifted with remarkable longevity.
To the name by which he is generally known may be added those
of CHID-SEN SEN-SAT and Mon-pd DAN-SAT and his youthful appella-
tion SEN-REI.
He never drew for the engravers, but two collections of his rough
sketches were printed in colours and published under the titles of
En-6 gwa-fu (1837) and Okio gwa-fu (1851), and others have been
copied in different volumes. His pictures are now so lost in the
midst of clever forgeries that it is not often safe to conclude that
any work bearing his name is really authentic.
He left two sons and a large number of pupils and imitators, in
whose hands his teaching was productive of some of the most
eraceful if not the most powerful works of Japanese pictorial art.

The chief characteristics of the typical Shijd picture are an easy,

but graceful outline, free from the arbitrary mannerisms and
unmeaning elegance of some of the works of the older schools ;com-
parative truth of interpretation of form, especially in the delineation
of birds,* associated with an extraordinary rendering of vitality and
* These features are admirably illustrated in Mr. Frank Dillon’s facsimiles of
Japanese drawings,
 SHIJO SCHOOL. 415

action ; and, lastly, a light harmonious colouring, suggestive of the

prevalent tones of the objects depicted, and avoiding the purely
decorative use of gold and pigment.
The motives most in favour with the classical academies. were
necessarily excluded by the principle of the Shijo school; but
Chinese landscapes, Chinese sages, and animals which the painter
never saw in life, were profitably replaced by transcripts of the
scenery and natural history of Japan. The subjects peculiar to the
Popular School, the life of the streets and theatres, were, however,
as carefully. avoided by the naturalist as -by the classical artist;
but where the two schools chanced to coincide in motive, as in the
drawing of Japanese heroes, the advantage of refinement always
- lay on the side of the pupils of Oxto.*
The subjoined list of the principal followers of Ox1o is extracted
chiefly from the Gwa-jo Yo-riaku. Amongst them pre-eminence
attaches to the names of Ro-srrsu, Gzn-x1, GEKKEI, 再 0-YEN，So-SEN，
Ker-Bun, Ippo, SHID-HO, and Y6-sat. The works of the three first,
which are rare, are less characteristic of the school than those of the
other artists named. A few painters of the highest ability, amongst
whom may be noticed SAI-KU-KO YU-SEI (No. 2314) appear to have
been passed over by all the native authors.

O-zu1; named also Gino. The eldest son of Oxto. He was an

imitator of his father’s style, but his drawings have neither the
strength nor originality of those of Oxto. Died 1829. (See
No. 2261.)
O-srv. Second son of Ox1o. Died at an early age in 1815.
O-sHIN ; named also Curu-x1d. Son of Ozur. Noted for land-
scapes. Died 1840, at the age of 49.
O-n1u (Marv-yama).t The painter of picture 8 in the Imperial
palace at Kioto. His relationship to Ox1o has not been ascer-
tained. .
Ro-sersu (NAGA-SAWA) ; named also Gryo and Sur-Ker. An original
but eccentric artist, who became a convert to the principles of
the Shijo school, while preserving a style that was peculiarly
his own. His pictures were amongst the most vigorous works
* Compare the Zen-ken ko-jitsu of Kikuchi Yosai with the Musashi Abumi of
Hokusai and the Ukiyo gwa-fu of Keisai Yeisen,
+ The name first in order is the personal cognomen, by which the artist is most
familiarly known, the patronymic is included within brackets, and the subsequent
appeliations are for the most part professional pseudonyms.
416 JAPANESE PICTORIAL AR.

of the school, but the author of the Gwa-jo Yo-riakw considers

that an insufficient study of the old masters had induced a
want of refinement in his manner of painting. Died 1799,
aged 44,
Ro-suit. Son of Ro-szrsv. (See No. 2308.) Died 1847, aged 80.
Gxzn-k1; named also Ko-mar Ki and Sut-on. A pupil of Oxto,
who won a reputation for paintings of beautiful women, and of
flowers, animals, and other subjects, and for the beauty of his
colouring. He died in 1798, at the age of 47.
Kaxu-rer (YAMA-ATO) ;named also Gi-yen and Kun-aryo. A native
of Osaka, who settled in Kioto, and studied under Ox1o. Noted
for drawings of “flowers, grasses, quadrupeds, and insects.”
Nan-Gaku (WaTANA-BE); named also GAN and Iséx1. A pupil of
Oxio, but was also an admirer of Kori’s style. Noted for
drawings of women and fishes. Died 1813, aged 46.
K5-caxu; named also SEN-SHIT， Son of the last. Studied under
Bu-zeEn.
Txssan (Mort); named also SHID-SHIN and SHI-GEN。 A native of
Osaka, who studied under Oxto, but adopted a modified style.
Noted for figures, flowers, birds, and quadrupeds. Died 1841.
(See Nos. 2300 and 2306.)
Sar5-REI (Yama-moro); named algo Kazu-ma. A pupil of OFro.
Nan-rer (Nisut-mura). A pupil of Oxto. A collection of his
drawings has been published under the title of Nanter gwa-fu
(3 vols. 1805). Died 1835, aged 79.
K6-Ker (YosHI-MURA) ;named also Mu-1. Studied under Oxo, but
adopted a modified style. Died 1866, aged 65,
K6-sun; named also Kun-1xv. Son of the last.
So-sun (YAMA-GUOHI) ; named also Haxv-co. A pupil of Oro，
noted for figure designs after the manner of the Popular school.
Some of his drawings have been published in three volumes
under the title of Sojwn gwa-fu (1810). See 2340-50,
Ya-cu6 (Ya-Nno) ; named also Szr-pin. A pupil of So-sun. Noted for
landscape.
Bum-met (O-xv); named also Man-1. A pupil of Ox1o.
Gern-cHoku (SHIMA-DA) ;named also SHI-HO and Sur-cen. A pupil
of Oxto.
SAI-BI (To-k1) ; named also E1-sud and Haxvu-ct. A pupil of OFro,
Cuoxvu-KEN (SHr-RATDi; named also Cut-syz. A pupil of Ox1o. Noted
for drawings of rats, as was So-sen for monkeys.
 SHIJO SCHOOL. 417

Suun-x1o. A pupil of Ox1o. Noted as a colorist.

KI-REI (Kami-dxa); named also Su-x1o. A pupil of OFro，
Surssar (Kami-pi). Painted in the style of Oxro.
GeEKKEI (MATSU-MURA) ; named also Go-sHun and Haxv-zo. He
first studied under Bu-son, but afterwards painted in the style
of Oxto, and became one of the most noted members of the
school, of which he is said to have headed a new section. His
landscapes were very remarkable works, and stamp him as an
artist of great originality and power; he was noted also for
drawings of fruits and flowers. He died in 1811 at the age of
sixty-nine. (See No. 2294.)
Td-y6 ; named also Tar-yo and Groxu-aa. Originally a pupil of
Kano BAISHO，but upon becoming acquainted with Oxro and
Gxxxet he adopted the style of the Shijd school. He wag noted
for landscape and figure. Died 1839, aged 86.
Nan-re1 (Suzu-x1); named also Jun and Sut-sum. A native of
Yedo. He was at first a pupil of Toyo, but subsequently made
the acquaintance of Oxa-moro HoagEn, to the great advantage of
the painting of both. 7
Td-ven; named also Moxu-ser. Son of Toyd.
Suun-pet (Mura-ta). Pupil of To-yen. Noted for landscape and
figure.
Kwa-1n. Noted for drawings of flowers. (See No. 2301.)
Doy-xrt (O-nara). Noted for landscape and figure.
Don-suiv. Son of the last. A pupil of Grro.
Ro-K6 (Mixuma). A female artist who studied under GeExxer.
Noted for drawings of cherry blossoms.
Kry-xrn (O-ra). A pupil of Kwa-rn and Ro-x6. Noted for drawings
of cherry blossoms. (See No. 2302.)
Rar-suo (Naxa-stma). A pupil of Ozur. (See No. 2343.)
Nan-pd (Dzu-sut). A pupil of Ozur.
Ki-yen (Mina-cawa) ; named also Haxv-x16 and Szs’sar. A com-
panion of Rd-szrsvu.
Ker-sun (MATSU-MURA) ; named also SHI-80 and Kwa-xer A
younger brother of Gexxrr. One of the most gifted pupils of
the school. His drawing was remarkable for delicacy and truth
to nature. Died 1844, aged 64. (See Nos. 2265 el seq.)
Sxi-k1 (Yoxo-yama). A pupil of Keron,
了 IU-BI (Harapa). <A pupil of Keron,
418 JAPANESE PICTORIAL ART.

Oxa-moro Hocen; named also SHI-GEN Toyo-nrKo and Ko-son.

A pupil of Guxxer. A talented and original landscape painter.
Died 1845, aged 67. (See No. 2360.)
UN-sHO (Surwo-cawa); named also Sui-sun. A pupil of Oxa-
moto HoceEn.
_Gi-15 (Sarpa-ra); named also IOHIU and Kiy-cuo, A pupil of
Gexxer. Most noted for landscape and figure, after the manner
of the Shijd school, but also painted flowers and birds in the
style of the Ming dynasty. Died 1819, aged 39.
Gi-H6. Son of Grro.
GO-REI (Yayii-aawa). <A pupil of Grro.
K6-yen (CHO-ZAN) ; named also SHI-RIO， Lived in Osaka. As
pupil of GexxKer.
T6-x1 (K1-no); named also Hrro-nart and Bo-pax. A pupil of
GEKKEI, but afterwards adopted a different manner and became
noted for Buddhist pictures in the style of Wu Tao-rsz’.
So-sen (Morr); named also SHU-SHO and Sauxv-ca. A famous
animal painter. He is best known by his inimitable pictures
of the Japanese monkey, but his range was by no means limited
to the one subject. M. Gonse, who was the first to do him
justice in this respect, has reproduced admirable sketches of the
rat, carp, and tiger (the latter not drawn from nature). The
Dillon collection includes a vigorous delineation of the peacock,
and the hare and deer are well represented in Nos. 2288 and
2285. It is however by his studies of simian life, which con-
stitute more than nine-tenths of his existing work, that he
must be judged, and although it is certain that he might have
attained equal eminence in other sections of animal painting,
his almost exclusive devotion to a narrow speciality must con-
demn him to rank below Oxio, Krrun, Hoven, and perhaps
other members of his school.
He painted in two distinct styles ; the one delicate and some-
times highly elaborated, the other bold, rapid, and impression-
istic; both manners are well exemplified by the specimens in
the. collection. According to the Gwa-jin riaku nen-pio, he
died in 1821, at the age of seventy-four.
Suiv-H6 ; named also Ki1-sutn and Suo-yvu-sar. A celebrated artist
of Osaka. His drawings of monkeys are little inferior to
those of Sosmn. (See No. 2291.)
 SHIJO SCHOOL. 419

Ho-yrn. One of the most accomplished and representative artists

of the school. His paintings of animal and vegetable life com-
bined a perfectly graceful touch with great fidelity to nature ; and
while many of his rivals produced little more than academical
studies, he has given us some of the most charming picture com-
positions of the present century. The collection of Mr. R. Phené
Spiers includes some valuable specimens of his work, and a good
example of his burlesque style may be seen in No. 2264. Many
clever pupils were educated in his atelier, and some of his
followers are working for the foreign market in the present day.
Ran-xO (Na-Kar); named also SHIN and Haxvu-yo. A native of
Osaka. Noted for landscape and figure.
Yo6-sar (Kixvu-cui); named algo Taxi-yasu. The most brilliant
of the modern pupils of the Shijs School. He distinguished
himself from the rest of the naturalists by directing his powers
almost entirely to figure painting, and is now chiefly known by
his magnum opus the Zenken kéjitsu, a noble series of portraits
of Japanese celebrities in the costume of their periods. He
died at the age of ninety-one, in 1878. Many of his original
drawings are in the collections of Messrs. Gonse and Duret,
and have been recently exhibited at Paris; and two good
examples of his brush are in the collection (Nos. 2345-6).
Jo-nit. A pupil of Oxto. His style was vigorous, but compara-
tively coarse. (See Nos. 2270-1.)
Suin-zo. Son of Jo-rit. Noted for drawings of beautiful women.
Ippo (Mort). A pupil of Trssan. As a painter of birds he
stands very high, even amongst Japanese artists. The col-
lection of Mr. Gowland, of Osaka, includes some of his best
works. (See Nos. 2275-7.)
开 5-SHIU (MIURA-KAMI) ;named also Nani-axr. A contemporary of
Oxto. |
21-SHIN (Surpa-Ta). A living artist of great originality, cele-
brated chiefly as a lacquer painter. An admirable example of
his naturalistic manner has been reproduced by M. Gonse in
‘L’Art Japonais,’ and the picture of Shoki and the Demons
(No. 2255) illustrates equally well another phase of his genius,
TamSU-GAI (NAKA-MURA) ; named also 上 IN-NORI，ZAKU-REN，amnd
Mu-azn Ro-sty. Renowned especially for drawings of Mount
Fuji. (See No. 2295.)
252
420 JAPANESE PICTORIAL ART.

SHIJO SCHOOL.
一 人 一

2251. Kakémono, on silk, painted in colours. Size, 383 x 134.

Two fan-mounts, decorated with flower designs.
Painted by MARU-YAMA O-x1o. Signed O-x1o. Seal. Dated
in the period Anyei (1772 to 1781).
2.252. Kakémono, on silk, painted in colours. Size, 14} x 191.
Carp.
The transparency of the stream is indicated by wavy bands of
light and shadow, through which appear the objects in the water.
Painted by MARU-YAMA O-xto. Signed O-x1o. Seal.
Dated in the Hare year of Temmei (1783).

2253. Kakémono, on silk, painted in colours. Size, 401 x 13%.

“The Hundred Cranes.”
Painted by MARU-YAMA O-n1o. Signed O-x1o. Seal.
Eighteenth century.
2254. Kakémono, on silk, painted in colours. Size, 174 x 18}.
Daikoku. (See p. 33.)
The god, mounted upon his rice bags, is looking at a salver con-
taining a number of the Takara-mono, The setting sun appears
in the background.
Painted by Marv-yama O-xio. Signed O-x1o. Seal.
Dated in the 4th year of Temmei (1783).

2255. Kakémono, on silk, painted in colours. Size, 38} x 127.

Puppies at play.
Painted by Marv-yama O-x1o. Signed O-x1o. Two seals.
Dated fourth year of Temmei (1783). The seals are not
those generally used by the artist, but the signature and
draughtsmanship indicate the genuineness of the work.
 SHIJQ SCHOOL. 421

2256. Kakémono, on silk, painted in colours. Size, 14% x 258.

Bird’s-eye view of Uji.
Lightly sketched in ink, water faintly tinted with blue.
Painted by Maru-yama O-x1o. Signed O-x1o. Seal.
Latter part of eighteenth century.
Uji is a small town upon the river of the same name. The place is
surrounded by tea plantations, and is celebrated for producing the best
quality of tea in Japan (see Satow and Hawes’ ‘ Handbook for Japan’).

2257. Kakémono, on silk, painted in colours. Size, 482 x 163.

Carp leaping the cataract.
Painted by MARU-YAMA O-x1o(?). Signed O-x1o. Seal.
Latter part of eighteenth century.

2.2.58, 2259, and 2259a. A set of three kakémonos, on silk,

painted in colours. Size, 88} x 158.
1, The winter flight of Tokiwa. (See No. 843.)
2 and 3. Fowls.
Painted by MARU-YAMA O-x1o(?). Signed O-x1o. Seal.
Dated “ Ox” year of Temmei (1781).

2260. Kakémono, on silk, painted in colours. Size, 362 x 123.

Fowls.

Painted by MARU-YANMA O-x1o(?). Signed O-x1o. Seals.

Poetical inscription by Yoro-an. Dated ninth year of
Temmei (1789).

2261. Kakémono, on silk, painted in colours. Size, 16 x 2738.

Fowls.
In the style of Ox1o, but much less spirited in design.
Painted by MARU-YAMA O-zur. Signed O-zur. Seal. End
of eighteenth century.

2262. Kakémono, on silk, painted in colours. Size, 43} x 16}.

Cock in a rain shower.
A vigorous sketch, in the best manner of the school, by an
‘ukiyo-yé’ painter.
Painted by Ran-roxvu-sar. Signed. Seal. Dated sixth
year of Temmei (1785).
422 JAPANESE PICTORIAL ART.

2263. Kakémono, on silk, painted in colours. Size, 153 x 20}.

Cock.
Painted by Den-x6-xi0. Signed. Seal. Dated Tiger
year of Temmei (1752).

2264. Kakémono, on silk, painted in colours. Size, 193 x 34.

The Grasshopper procession.
A Daimio’s procession burlesqued by insects. 'The Daimio’s kago
is represented by a wicker cicada cage, but the tenant of the con-
veyance is not visible. This is preceded by a noble array of Mantis
Samurais, whose affected and exaggerated stride is intended to
caricature the peculiar gait by which the military vassals of old
Japan were wont, on special occasion, to impress their superiority
upon the unmartial civilians. Behind these come an army of wasps,
who take the place of baggage coolies; and in the rear is seen one
of the ot roAAo bowing his head to the ground in obedience
to the stern order of “ Shita ni iro,” or ‘Down with you!” shouted
at intervals by the two-sworded escort.
The processional spears, &c., the number of which is proportioned
to the rank of the Daimio, are represented by wild flowers of various
kinds.
This picture has an interest as the original of the multitudinous
sketches made in later years by artisan artists for the foreign
market.
Painted by Ho-yen. Signed. Seal. 了 arly part of nine-
teenth century.

2265 and 2266. A pair of kakémonos, on paper, painted in

colours. Size, 532 x 143.
1. Sparrows in the rain-light.
2. Cuckoo.
Painted by Matsu-mura Kur-sun. Signed Kur-pun. Seal.
End of eighteenth century.
2267. Kakémono, on silk, painted in colours. Size, 112 x 88.
Fisherman.
Painted by Marsu-mura Kur-pun. Signed Ker-pun. Seal.
End of eighteenth century.

2268. Kakémono, on silk, painted in colours. Size, 40 x 193.

Wild Geese. Moonlight.
Painted by Kur-pun. Signed. Seal. End of eighteenth
century.
 SHIJO SCHOOL. 423

2269. Kakémono, on paper, painted in colours. Size, 523 X 223.

Woodmen.
Attributed to Kxt-nun. No signature. End of eighteenth
century.

2270 and 2271. A pair of kakémonos, on silk, painted in colours.

Size, 42 x 16%.
Birds and spring flowers.
Painted by Jé-niv. Signed. Seal. End of eighteenth
century.

2272 and 2272a. A pair of kakémonos, on silk, painted in

colours. Size, 873 x 13.
Landscapes. Spring and autumn views.
Painted by Mort Ippo. Signed Ippo. Seal. Nineteenth
century.

2273. Kakémono, on silk, painted in colours. Size, 45} x 202.

Peacock.
A powerful sketch without any of the usual elaboration of
plumage.
Painted by Mort Ippo. Signed Ippo. Seal. Nineteenth
century.

2274. Kakémono, on silk, painted in colours. Size, 403 x 14}.

Ducks. Winter scene. a.
Painted by Mori Ippo. Seal. Nineteenth century.

2275. Kakémono, on silk, painted in colours. Size, 563 x 333.

Flying cranes.
The two birds, sweeping gracefully through the air, are skilfully
foreshortened, and drawn with a delicacy and decision of touch
characteristic of the works of the artist. The lower half of the
picture is left blank to convey an idea of the height at which the
storks are poised. The conventional red sun is introduced .partly
in conformity with a time-honoured association of ideas, and partly
for purposes of decorative effect.
The effect of the feathery surface is obtained by a thin “ glazing ”
of white.
Painted by Morr Ippo. Signed Ippo. Seal. Nineteenth
century.
424 JAPANESE PICTORIAL ART.

2276. Kakémono, on silk, painted in colours. Size, 403 x 161.

Tanuki (Nyctereutes procyonoides, or Racoon-faced dog).
The animal is sitting upon its hind quarters, drumming upon its
abdomen in the moonlight.
Painted by Mort Ippo. Signed Ippd. Seal. Nineteenth
century.
The racoon-faced dog (Tanuki), commonly referred to by Europeans as
a badger, has a reputation of almost as unenviable a character as that
of the fox. Like his vulpine relative, he has the power of transformation,
but his changes of shape tend rather to the accomplishment of practical
jokes than to wilful evil-doing, and in addition he is credited with a
fictitivuus peculiarity of anatomy which has given rise to many funny
stories.
The most familiar Tanuki narrative is that of the “ wonderful and lucky
tea-kettle” (see Mitford’s ‘ Tales of Old Japan,’ and Griffis’ ‘ Japanese Fairy
World’). The animal is believed to be in the habit of leading wayfarers
astray on moonlight nights by sweet sounds evoked by drumming upon its
inflated abdomen.

2277. Kakémono, on silk, painted in colours, Size, 37 x 13%.

Landscape. Moonlight.
The borders of a lake. In the foreground a fisherman returning
from his labours.
The light differs in no respect from that of a day scene.
Painted by Mort Ippd. Signed Iepd. Seal. Nineteenth
century.

2278. Kakémono, on paper, painted in monochrome. Size,

524 x 198.
Japanese monkeys.
Painted by Morir So-sen. Signed So-sen. Seal. End
of eighteenth century.

2279. Kakémono, on silk, painted in colours. Size, 46} x 208.

Monkeys and pine-tree.
In the more careful style of the artist.
Painted by Mori So-smn. Signed So-szn. Seal.’ Nine-
teenth century.

2280. Kakémono, on paper, painted in colours. Size 143 x 223.

Monkey.
A long-armed black monkey, with an abundance of long hair
about the face.
 SHIJO SCHOOL. 425
' Sketched in rapid style with ink. Eyes and tongue lightly
tinted.
Painted by Mort So-sen. Signed So-sen. Seal. End of
eighteenth century.
2281. Kakémono, on purple silk, painted in gold ink. Size, 9} x 9}.
Monkey.
The animal has a Shinté hat upon his head, and holds a go-het
wand.
Painted by Mort So-sey. Signed So-szen. Seal. Nine-
teenth century.
2282. Kakémono, on paper, painted in monochrome. Size,
46% x 183.
Monkeys.
Rapid sketch.
~ Painted by Morr So-sen. Signed So-sen. Seal. End of
eighteenth century.
2283. Kakémono, on silk, painted in colours. Size, 412 x 153.
Monkeys and plum-tree.
Carefully painted. A characteristic example of the more finished
work of the artist.
Painted by Morr So-sen. Signed So-sen. Seal. Nine-
teenth century.
2284. Kakémono, on paper, painted in monochrome. Size,
374 x 103.
Monkey.
Rapid sketch.
Painted by Mort So-sen. Signed So-szn. Seal. End of
eighteenth century.
2285, Kakémono, on silk, painted in colours. Size, 89} x 14$.
Deer and Fawn (Cervus Shika, Sieb.).
Painted by Mort So-sen. Signed So-sen. Seal. Nine-
teenth century.
2286. Kakémono, on silk, painted in colours. Size, 21% x 163.
Deer.
Painted by Morr So-sen. Signed So-szen. Seal, Nine-
teenth century.
426 JAPANESE PICTORIAL ART.

2287. Kakémono, on silk, painted in colours, Size, 30} x 8%.

Hart and Hind.
Painted by Morr So-szn. Signed So-sen. Seal. Nine-
teenth century.
2288. Kakémono, on paper, painted in colours. Size, 41} x 10%.
Hare.
Sketched in ink, and lightly tinted with colour.
Painted by Mori So-sen. Signed So-sen. Seal. Nine-
teenth century.
2289. Kakémono, on silk, painted in colours. Size, 503 x 192.
Chinese Sages.
Roughly sketched. (Ganku school ?)
Painted by Gan-xur. Signed. Seal. Nineteenth century.
2290. Kakémono, on silk, painted in colours. Size, 362 x 11}.
Cranes.
Artist unknown. No signature. Seal. Nineteenth century.
2291. Kakémono, on silk, painted in colours. Size, 41% x 11}.
A group of monkeys.
Painted after the manner of Sosen, and with equal delicacy
of touch and truth to nature.
Painted by Sur10-H6 at the age of sixty-five.
Signed H6-cen SHIO-HO。 Seal. Nineteenth century.
2292. Kakémono, on silk, painted in colours. Size, 18 x 52},
View of Mount Fuji.
Painted by Isui-pasut Ri-cud. Signed Ri-cusd. Seal.
Early part of nineteenth century.
2293. Kakémono, on silk, painted in colours. Size, 472 x 20.
Waterfall.
Painted by JISHI-BASHI Ri-cud. Signed Ri-cuo. Seal.
Early part of nineteenth century.
2294. Kakémono, on paper, painted in monochrome. Size, 601 x 36.
Landscape. Rain scene.
Painted by JsEI-BASHI RI-cHO after a picture by GO-
GETSU-KEI (GEKKEI or Go-suun). Signed. Seal. Nine-
teenth century.
 SHIJO SCHOOL. 427

2295. Kakémono, on silk, painted in colours. Size, 22} x 33%.

View of Mount Fuji.
Painted by Tursu-aar. Signed. Seal. 了 arly part of
nineteenth century.

2296. Kakémono, on silk, painted in colours. Size, 43} x 153.

Monkeys.
Painted by Mori Suiv-sen. Signed Tar-sar YU-RIO-SAI
Mori Surv-sen. Seal. Nineteenth century.
The prefix TAI-SHI indicates that the succeeded name was con-
ferred by the Shogun.

2297. Kakémono, on silk, painted in colours. Size, 892 x 14}.

The cascade of Mino.
Showing the descent of the slender, graceful waterfall into a
picturesque wooded valley.
Painted by Kaxv-6 Nicut-r1d at the age of seventy-
eight. Signed. Seal. Nineteenth century.
The waterfall is situated a few miles to the N.W. of Osaka, and is the
second in Japan for beauty and extent of fall (60 feet). See Summers’
‘ Notes on Osaka,’ Trans. As. Soc. of Japan, v. 7.

2298. Kakémono, on silk, painted in colours. Size, 89% x 5}.

Landscape. Snow scene.
Painted by Ri-cHé-suit. Signed. Seal. Nineteenth
century.
2299. Kakémono, on silk, painted in colours. Size, 404 x 148.
Quails.
Painted by Rr-cuo-snit. Signed. Seal. Nineteenth
century. ;

2300. Kakémono, on silk, painted in colours. Size, 64 x 36%.

Deer and maple-tree.
Painted by Mort Tussan. Signed Txssan (Tersu-zan).
Seal. arly part of nineteenth century.
2301. Kakémono, on silk, painted in colours. Size, 40% x 14%.
Cherry-trees in flower.
“Copied from the cherry-trees of Tsukuba Hill.”
Painted by Kwa-mx. Signed. Seal. Early part of nine-
teenth century.
428 JAPANESE PICTORIAL ART.

2302. Kakémono, on silk, painted in colours. Size, 56% x 223.

“The cherry-blossoms of Mikawa.”
A characteristic example of the flower painting of the Shijé
school. The edges of the petals are thrown into relief by a process
of impasto.
Painted by O-ra Kin-xrn. Signed O-ra no Musumié (the
daughter of Ora). Dated in the period of Bunkwa (1804 to
1818).
2303. Kakémono, on silk, painted in colours. Size, 343 x 13.
Cherry-blossoms. Fan mounts.
A pretty but untruthful effect is gained by conferring a fictitious
semi-transparency upon the petals. This is one of many expedients
adopted to compensate for the absence of chiaroscuro.
Painted by Gioxu-sui. Signed GIoKU-SHI Surv-sin. Seal.
Nineteenth century.
2304. Kakémono, on silk, painted in colours. Size, 344 x 13}.
The temple of Ishiyama. Snow scene.
Painted by Ko-sutu. Signed. Seal. Nineteenth century.
2305. Kakémono, on paper, painted in monochrome. Size,
241 x 433.
Chinese landscape. Winter scene.
The shore of a bay or lake. The whole landscape thickly covered
with snow.
The whiteness of the snow is represented by the untouched paper.
The execution, as well as the materials, is of the simplest kind, but
the artist has been remarkably successful in conveying the im-
pression of the still, chilly atmosphere that reigns over the wintry
scene.
Painted by Mori Isszn. Seal. Nineteenth century.
2306. Kakémono, on silk, painted in colours. Size, 393 x 131.
The young Kintoki and his mother. (See No. 2125.)
Kintoki is seen as a sturdy boy of florid complexion, grasping an
axe of formidable dimensions. His mother, a ‘“ Yama-uba,” or
mountain woman, of rather witch-like aspect, is carrying upon her
back a basket of loquats (biwa).
Painted by Morr Tessan. Signed. Seal. Poetical
inscription. arly part of nineteenth century.
The Yama-ubas, or old women of the mountain, are beings, half spiritual,
half human, that haunt the mountains and are friendly to man, guiding
 SHIJO SCHOOL. 429

lost wayfarers, or aiding overloaded woodmen to carry their burdens. The

only member of the tribe that has been invested with a special individu-
ality in story is the mother of Sakata Kintoki.
It is related that Yorimitsu (see Nos. 285 and 383) had long been searching
to enlist a retainer worthy of association with his doughty squires 'l'suna,
Suyétaké, and Sadamichi. Once, when stopping on his way to Kioto, to
enjoy the magnificent prospect from Mount Ashigara in Idzu, he observed
a cloud of curious form overhanging a distant summit, and interpreting
the appearance as an indication of the presence of a hero, he ordered Tsuna
to seek the place. The retainer, after travelling over a steep and difficult
path to the bottom of a valley at the foot of the peak, found a hut in
which were an old woman and a boy. He accosted them, and when the
woman learned that he was a retainer of the noble Yorimitsu she proposed
to place the boy, her son, in the same service. She told him that “she
had breathed the air of heaven upon the mountains for many hundreds of
years, and had neither parents nor husband, but the child who was with
her was the fruit of a dream in which a red dragon had appeared before
her.- From his earliest years the boy had shown a warlike spirit and longed
to follow a great general, that by brave deeds he might make his own name
famous throughout the empire.”
The boy was adopted by Yorimitsu, and became one of the knightly
celebrities of his age.
Another version of the story is related in Griffis’ ‘ Japanese Fairy World,’
In pictures he is commonly seen as a stout, ruddy child, half naked, and
armed with a huge axe, sometimes struggling with a bear, sometimes
standing over the prostrate Thunder-god, whom he has overthrown, or
playing with a nest of callow Tengus which he has just captured by means
of the limed stick of the birdcatcher (see No. 2125). As a follower of
Yorimitsu he does not appear to have made for himself a separate renown
like his comrade Tsuna, the demon-slayer.

2307. Kakémono, on silk, painted in colours. Size, 502 x 214.

Camels.
Probably copied from life.
Painted by Ran-xd. Signed. Seal. Nineteenth
century.

208. Kakémono, on silk, painted in colours. Size 603 x 17%.

Plum-blossom and Mount Fuji.
The picture and its bordering are formed by the same piece of
silk, which is coloured where it represents the mounting. Within
the picture limits is seen a faint outline of the peerless mountain,
while a boldly drawn flowering branch of plum stretches across the
whole surface, producing the effect of a tree standing in front of
the painting. ,
Painted by NAGA-SAWA Ro-snit. Signed Ro-suiv. Seal.
Beginning of nineteenth century.
 v

430 JAPANESE PICTORIAL ART.

2309. Kakémono, on silk, painted in colours. Size, 214 x 27}.

Monkeys.
Painted by Sun-po. Signed. Seal. Dated ninth year
of Bunsei (1826).
2310. Kakémono, on silk, painted in colours. Size, 383 x 133.
Monkey.
Painted by Ama-no Hut-can. Signed. Seal. Nineteenth
century.

2311. Kakémono, on silk, painted in colours. Size, 463 x 21.

Courtesans.
The large hair-pins and the long, highly decorated pipe are
accessories worthy of note. The drawing is after the manner of the
Hishigawa school, and should have been placed with the Ukiyo-ye.
This picture was probably intended to form a companion to
the following.
Painted by Kawa-at Kwan-sersu. Signed Kwan-setsv.
Seal. End of eighteenth century.
2312. Kakémono, on silk, painted in colours. Size, 49? x 212.
Courtesans.
Painted by Kwan-sersv. Signed. Seal. End of eighteenth
century.

2313. Kakémono, on silk, painted in colours. Size, 49} x 212.

“Cuckoo (Hororocisv) in rain light.”
The bird, flying far above the trees, is uttering its note. The
breaking clouds above transmit slanting rays of sunlight which
illuminate the vapour-laden atmosphere and throw a half-trans-
parent veil before the distant pine-clad hills.
The style is in great contrast to that of the two preceding.pictures
by the same artist.
Painted by Kwan-sersv. Signed. Seal. End of eighteenth
century.

2314. Kakémono, on silk, painted in colours. Size, 56% x 3384.

Pea-fowl and pine-tree.
Sketched in ink and thinly washed with gold and colour.
In delicacy and freedom of touch, and in fidelity to nature, this
picture holds a place in the first rank of the productions of the
school, but no record can be found of the artist’s name.
Painted by SAI-KIO-RIO Yo-sur. Signed. Seal. Early
part of nineteenth century.
 SHIJO SCHOOL. 431

2315. Kakémono, on silk, painted in monochrome. Size 453 x 274.

The approach of a storm. River scene.
The story is told by the agitated waves driven into great billows
by the gust that heralds the storm, by the cowering reeds, the bent
limbs of the trees that fringe the river-bank, the unwonted energy
of the fishermen who, urging their boat in the teeth of the wind,
are straining every nerve to reach a place of safety before the
torrent bursts upon them. ‘The murky sky and the dismal
atmosphere, expressed by a few sweeps of the artist’s brush,
complete the picture.
Painted by To-caxu Set SHI-EKI， Signed. Seal. Inserip-
tion, “The wind that sways the willow branches.” Nine-
teenth century.

2316. Kakémono, on silk, painted in colours. Size, 19 x 33%.

View of Mount Fuji.
The plain at the foot of the mountain is half concealed by mist.
On the right of the foreground is shown the brow of a hill,
bordered by a winding path.
Painted in ink relieved by a light wash of reddish-brown.
Painted by Td-surv. Signed. Seal. Nineteenth century.

2317. Kakémono, on silk, painted in colours. Size, 39} x 163.

Monkey and Wistaria.
In the style of Soszn, but painted with a finer brush and with
less freedom of style.
Painted by Uyi-pa Ko-curv. Signed K6-curv. Seal.
Nineteenth century.

2318. Kakémono, on silk, painted in monochrome and gold. Size,

574 x 284.
Pea-fowl and peonies.
Painted by Ko-ser. Signed. Two seals. Seal indi-
eating point of commencement at right lower corner. Nine-
teenth century.

2319. Kakémono, on silk, painted in colours. Size, 423 x 163,

Carp and other fishes.
After the style of Oxio.
Painted by RAN-TEI， Signed. Seal. Nineteenth century.
432 JAPANESE PICTORIAL ART.

2320. Kakémono, on paper, painted in colours. Size, 62 x 373.

Sparrows.
Roughly sketched.
Painted by Té-x6. Signed Td-Kd Cud-sua. Seal. Nine-
teenth century.
2321. Kakémono, on silk, painted in colours. Size, 423 x 134.
Carp and other fishes,
Painted by Kan-6. Signed. Seal. Nineteenth century.
2322. Kakémono, on silk, painted in colours. Size, 43} x 173.
Children and pine-trees,
Painted by Ha-suiv. Signed. Seal. Nineteenth century.
2323. Kakémono, on silk, painted in colours. Size, 22% x 448.
A spring view of Yoshino.
The general character of the scenery is very faithfully repro-
duced. The valley at the foot of the mountain is white with
cherry-blossoms.
Painted by Un-po. Signed. Seal. Nineteenth century.
Yoshino, in the province of Yamato, is a famous resort of pilgrims, who
are attracted in the spring or early summer by the beauty of its cherry
groves. The prospect in the month of April, when the trees are in blossom,
almost defies the pencil of the artist. For a description of the locality,
see the ‘ Handbook for Japan,’ p. 407.

2324. Kakémono, on silk, painted in colours. Size, 39% x 14.

Portrait of a warrior.
After the style of Hovey.
Painted by Gen-yer. Signed. Seal. Nineteenth century.

2325. Kakémono, on silk, painted in colours. Size, 443 x 163.

Cherry-tree and small birds. Spring.
Painted by Boxv-suo. Signed. Seal. Nineteenth century.
2326. Kakémono, on silk, painted in colours. | Size, 32%X 114.
Sparrow.
Painted by Cuin-nen. Signed. Seal. Nineteenth century.
2327. Kakémono, on silk, painted in colours. Size, 39 x 141.
Cuckoo and rainbow.
Painted by Gun-ran, Signed. Seal. Nineteenth century.
 SHIJO SCHOOL. 433

2328. Kakémono, on silk, painted in colours. Size, 373 « 163.

Carp.
After the style of O-KIo.
Painted by Kwa-ya. Signed. Seal. Nineteenth century.

2329. Kakémono, on paper, painted in colours. Size, 48} x 213.

Small fishes in stream.
Painted by RissAKu-sHI Gan-suun. Signed. Seal. Nine-
teenth century.

2330. Kakémono, on silk, painted in monochrome. Size, 40 x 14.

Carp ascending waterfall.
Edges of scales heightened with gold.
Painted by Sary-sar. Signed. Seal. Nineteenth century.

2331. Kakémono, on silk, painted in monochrome. Size, 343 x 103.

Carp and other fishes. — :
Painted by MASU-YAMA Sxssax. Signed. Seal. Nine-
teenth century.

2332. Kakémono, on silk, painted in colours. Size, 463 x 16.

May festival decoration.
A bunch of white and red flowers, bound together with chrys-
anthemum leaves and oranges by means of “cords of five colours”
(white, blue, yellow, green, and red), and suspended upon one of
the upright posts (hashira) which support the cross-beams of the
room.
Painted by Hana Zat-mer. Signed ZAT-MEI， Seal. Nine-
teenth century.

2333. Kakémono, on silk, painted in colours. Size, 483 x 192.

Fowls and gourd plant.
Painted by Hana ZAI-SHO and Ko-yur. Signed. Seals.
Nineteenth century.

2334 and 2335. A pair of kakémonos, on paper, painted in

colours, Size, 474 x 203.
Cranes and tortoises.
Painted by TAOHI-BANA Saun-10. Signed Suun-r6. Seal.
Nineteenth century.
2F
434 JAPANESE PICTORIAL ART.

2336. Kakémono, on silk, painted in colours. Size, 443 x 214.

Flowering cherry-tree and small birds.
Painted by 了 IN-RIO， Signed. Seal. Nineteenth century.
2337. Kakémono, on silk, painted in colours, Size, 873 x 143.
Imperial grooms and horse.
Painted by Ji-Ho Gen-wo. Signed. Seal. Nineteenth
century.
2338. Kakémono, on silk, painted in colours. Size, 40% x 16.
Wild Geese.
Sketched in ink and lightly coloured. A large moon is drawn in
the upper part of the picture, but casts no shadow.
Painted by Krr-rm. Signed. Seal. Nineteenth century.
2339. Kakémono, on silk, painted in colours. Size, 40 x 144.
The Empress Jing5 with the infant Ojin Tenn5
and Takéno-uchi no Sukuné. (See page 141.)
Painted by Kan-zan. Signed. Seal. Nineteenth century.
2340. Kakémono, on silk, painted in colours. Size, 412 x 164.
Peacock, peony, and plum-blossoms.
Painted by Kan-zan. Signed. Seal. Nineteenth century.
2341. Kakémono, on silk, painted in colours. Size, 182 x 28%.
Imperial procession to the Temple of Kami-kamon
in Kioto.
A long cortége of Kugé, Samurai, Shinto priests, and servants,
escorting the sacred Phoenix Car. In the distance is a less preten-
tious vehicle, bearing the Tokugawa crest, accompanied by Hata-
motos (Samurai in the service of the Shogun). The rear of the
procession is lost in the arbitrary cloud which artistic licence allows
to excuse the introduction of unnecessary details.
Painted by Haxu-rzr. Signed. Seal. Dated third year
of Bunkiu (1863).
2342. Kakémono, on silk, painted in colours. Size, 418 x 14}.
Cranes.
Painted by Kiv-xo. Signed. Seal. Nineteenth century.
2343. Kakémono, on silk, painted in colours. Size, 44 x 164.
Carp leaping from the water.
Faintly coloured, high lights touched with gold.
Painted by Rar-suo. Signed. Seal. Nineteenth century.
 SHIJO SCHOOL. 435
一

2344. Kakémono, on silk, painted in colours. Size, 153 x 253.

Fishing by moonlight.
An attempt is made to show the shining path of light reflected
upon the water by the rising moon. :
Painted by To-sHd. Signed. Seal. Nineteenth century.
2345. Kakémono, on silk, painted in colours. Size, 203 x.283.
Hadésu slaying the Korean tiger. (See page 391.)
Painted by Krxu-cu1 Y6-sar. Signed Yo-sar. Seal. Nine-
teenth century.
2346. Kakémono, on silk, painted in colours. Size, 40} x 113.
Fukurokujiu. (See p. 30.)
Yosar’s conception of the earthly embodiment of the “Star of
Longevity ” differs as widely from the hackneyed and often insig-
nificant portraitures of the Kano and Chinese schools, as do the
heroes of his Zenken Kojitsu from the nonentities that sometimes
figure in the makimonos of the Yamato artists. The face of the
god, that of a grave old. man whose near approach to the extreme
confines of this life would seem to have permitted a glimpse into
the mysteries of the higher existence beyond, has a strange expres-
sion of thoughtful sadness, a far-away look into the past of his lost
youth, and gains in intellectual dignity from the preternaturally
lofty brow that tradition has fixed as his distinctive character.
The unsubstantial diaphanous aspect of the rest of the figure throws
out into strong relief the firmly limned features, and is in perfect
harmony with the vaporous cloud-wreath that bears the departing
sage upwards into the home of the Immortals.
The lineaments of the figure are said to present a strong resem-
blance to those of the artist, a fact which would lend a special
significance to the work, one of the latest productions of Ydésar’s
declining years. ;
Painted by Krxvu-cur Yo-sar at the age of eighty-three.
Signed Y6-sar. Seal. Nineteenth century.
2347. Kakémono, on silk, painted in colours. Size, 353} x 121.
Kwanyin on Dragon. (“ Riv-pzv Kwannon.”)
Attributed to Kixu-cur Y6-sa1, but probably the work of a pupil.
No signature or seal. Nineteenth century.
2348. Kakémono, on silk, painted in colours. Size, 13 x 22. |
The Signs of the Zodiac.
A circle formed chiefly by representations of the twelve animals
of the Duodenary cycle of the Chinese, and completed by the
22
 —

486 JAPANESE PICTORIAL ART.

figures of Daikoku and-Bbisu. A coolie is seen outside the

zodiacal ring leading his horse through a stream.

Painted by Yu-pa OHIKU-KOKU。 Signed OHIKU-KOKU，

Seal. Dated thirteenth year of Bunkwa (1816).
The “Twelve Animals” (Jiu-ni Shi) of the Duodenary cycle, which are
in some degree analogous to our Signs of the Zodiac, are the Rat, the Ox,
the Tiger, the Hare, the Dragon, the Serpent, the Horse, the Goat, the
Monkey, the Cock, the Dog, and the Boar, They are supposed to exercise
an influence according to the attributes assigned to each, over the hour,
day, or year to which as elementary parts of the cycle they respec-
tively appertain. Their use is said to extend as far back in China as
the second century, A.D.,.and is believed to have been introduced by Tartar
intercourse, Sve Mayers’ ‘Chinese Reader’s Manual,’p. 851.

2349. Kakémono, on silk, painted in colours. Size, 343 x 171.

Bird’s-eye view of a portion of Kioto.
Painted in the style of the Meisho artists. The moment is chosen
when the evening mists are descending upon the city, obscuring
the humbler dwellings, but topped by the nobler architecture of
temple and mansion.
Painted by YAMA-GUOHI So-sun. Signed So-sun. Seal.
Nineteenth century.

2350. Kakémono, on silk, painted in colours. Size, 393 x 14.

O-kamé. (See No. 287.)
The goddess is attired in the dress of a lady of the ancient
Japanese Court. Her face has the traditional foolish form and
expression.
Painted by YAMA-GUOHI So-sun. Signed. Seal. Poetical
inscription by Kamo no Seitaka. Nineteenth century.

2351. Kakémono, on silk, painted in colours. .Size, 13 x 317.

A roadside robbery. Winter scene.
The thieves have pillaged and stripped a wayfarer, but, inter-
rupted in their merciless work by the passage of a file of merchants
along the adjacent road, are threatening their victim to deter him
from raising an alarm. The freezing atmosphere of the picture,
and the wild scenery, convey a vivid idea of the probable fate of
the poor naked wretch, who is clasping his hands in an agony of
entreaty and despair, while his plunderers prepare to carry off the
whole of his possessions.

Artist unknown. Seal. Nineteenth century.

 SHIJO SCHOOL. 437

2352. Kakémono, on silk, painted in colours. Size, 163 x 20}.

The Sun Goddess emerging from her cave. (See
No. 1905.)
The strong-armed god Tajikara-o-no Kami has dragged aside the
rock from the entrance of the cavern into which the insulted Ama-
terasu had retired, and is leading her forth amidst the acclamations
of her fellow-deities. Okamé, the Goddess of Folly, is a conspicuous
figure, dancing upon a drum in disordered attire, and holding in
her hands a bamboo branch and bells.
The darkness of the sky and distant hills contrasts with the
strongly illuminated group in the foreground.
Artist unknown. Nineteenth century.

2353. Kakémono, on silk, painted in colours. Size, 413 x 16.

Persimmon tree and small birds.

Painted by Kisu-1. Signed. Seal. Nineteenth century.

2.354. Kakémono, on silk, painted in colours. Size, 14} x 19$.

Puppies.
Painted by Kisu-1. Signed. Seal. Nineteenth century.

2355. Kakémono, on silk, painted in colours. Size, 40 x 15.

Chung Kwei and the Demons. (See No. 687.)
The mounting of this kakémono is represented by a coloured
border painted upon the same piece of silk that bears the design,
by which departure from the ordinary practice the artist is enabled
to represent the imps as having been kicked out of the picture by
the fierce demon-queller.
The introduction of the golden dust cloud enveloping the expelled
devils is deserving of notice.
Painted by Suma-ta Zii-sury. Signed.. Seal. Nine-
teenth century.
2356. Kakémono, on silk, painted in colours. Size, 43 x 15§.
Sparrow and Wistaria.
The ends of the rolling stick are decorated with a lacquered
design, probably by the artist. The material used in the mounting
is a European fabric.
Painted by SarpA-TA Zii-suiy. Signed ZE-SHIN， Seal.
Nineteenth century.
2357. Kakémono, on silk, painted in colours. Size, 40} x 14{.
; Monkeys.
The style of painting resembles that of the Shij5 school, but the
 438 JAPANESE PICTORIAL ART.
. drawing is inferior to that of Sosen and some other Japanese artists’
attached to the more naturalistic academies.
Painted by Gaxu-H6 Y6-Koxu.~Signed. Seal. Early part
of nineteenth century.
2358. Kakémono, on silk, painted in colours. Size, 70 x 433.
Tiger. Painted from life.
The animal is represented climbing upon a rock by the sea-
shore.
The attitude and expression are rendered with extraordinary
vigour, and the details of hair and other parts are painted with
extreme minuteness, but without injury to the power of the design.
The artist has, however, drawn upon his imagination in the delinea-
tion of the canine teeth, and has conventionalised the painting of
the eye.
The effect of the hairy coat is softened by a thin glaze of white.
Painted by Kru-H5 TO-YEI (an artist of the Kano School ?)
Signed. Seal. Dated Snake year of Kiowa (1803).
2359, Kak‘mono, on silk, painted in colours, Size, 441 x 163.
Fishes,
A gronp of small fishes swimming in a transparent stream. ‘Two
large branches bearing white flowers cross the foreground of the
picture.
Painted by Ki-6. Signed, Seal. Nineteenth century.
2360. Kakémono, on silk, painted in colours, Size, 421 x 141,
Snow scene,
Rapidly sketched,
Painted by Oxa-moro Hocmn (or Ko-son). Signed Oxa
Toyo-n1Ko. Seal. End of eighteenth century.
2361. Makimono, silk, painted in colours, Size, 386 x 102.
“Interesting Views of the Islands of the Sea.”
. The island Tomoshima in Bingo.
. The natural cave of Kannen-kaku.,
. The natural cave of Johon-iwa.
. The well Akai.
. The pool of Tsurugi.
. The pool of Shinjoga,
. A view from Mount Fuji.
eH
wD. A view on the inland sea from Mount Nagusa.
DANanP

Artist unknown. Dated in the Horse year of Kwansei

(1798),
 SHIJO SCHOOL. 439

2362. Makimono, paper, painted in colours. Size, 334 x 10§.

Views of Mount Fuji.
Painted by O-3a Korii-xaci. Signed. Seal. Dated
sixth year of Kwansei (1794).

2363. Makimono, paper, painted in colours. Size, 528 x 954.

The Crown of Mount Fuji in all seasons.
The summit of the Peerless Mountain is shown as it appears at
different seasons in the year, and under the more exceptional
meteorological conditions. The phenomena of the single and
double snow cap are carefully drawn.
Artist unknown. Nineteenth century.

ares and 2365. A pair of makimonos, paper, painted in colours °

Size, 252 x 11}.
Miscellaneous rough sketches.
Painted by Surpa-ra ZE-SHIN。 Nineteenth century.

2366. Makimono, on paper, painted in colours. Size, 448 x 10.

The Haunted Palace.
A ruined palace tenanted by dire goblins, who re-enact in cari-
cature the stately parts once played by its noble occupants of
bygone days in the now dilapidated apartments. The weird
panorama is closed by a scene of active practical life in the kitchen
of a large mansion. A cock crowing upon a gate post indicates
that it is early morn, and that the horrors that have gone before
are but the disordered fancies of a dream.
Painted by Mixamoro no Saxr. Signed Minamoro Kz.
Two seals. Dated Dog year of Anyei (1773).

2367. Unmounted drawing, on silk, painted in colours. Size,

463 x 163.
Tortoises.
Painted by MARU-YAMA O-x10. Signed O-x1o. Two seals.
Dated Snake year of Temmei (1785).

2368 to 2373. Aset of six unmounted drawings, on paper, painted

in colours. Size, 64 X 53.
Landscapes.
Painted by MARU-YAMA O-xto (?). Signed O-x1o. Seal.
End of eighteenth century.
 440 JAPANESE PICTORIAL ART.

2374. Unmounted picture, on silk, painted in colours. — Size,

63 x 73.
Peony.
Painted by Maru-yama O-x1o (?). Signed O-x1o. Seal.
End of eighteenth century.
2375. Unmounted picture, on silk, painted in colours. — Size,
. 233 x 341,
Mount Fuji.
Painted by Kan-caxvu. Signed. Seal. Nineteenth century.
2376. Unmounted picture, on paper, painted in colours. Size,
247 x 391.
Shinto Shrines at Isé.
Drawn in perspective.
Painted by Groxv-sHd. Signed. Seal. Nineteenth
century (1880). .
For a description of the shrines, see article by Mr. Satow in the ‘ Trans-
actions of the Asiatic Society of Japan,’ 1874.
2377 to 2395. <A set of nineteen unmounted drawings, on silk,
painted in colours. Size, 163 x 118.
Miscellaneous sketches by artists of the school of
Ho-yen.
. Plum, by Ho-yen.
。 Carp, by IN-REL，
. Flowers, by Go-srn.
. Sparrow and plum-tree, by NAN-REI.
. Seroll-genius, by Ko-san.
. Chinese boys, by Go-sen.
. Boys fishing, by 玉 5-Y0.
. Tortoises, by Rid-sersv,
He
WD- Melon, by K1d-no.
SANDOR
10, Liu Pei (Gentoku) plunging into the stream,* by Kisu-1.
11. Cicada, by SHUN-K6。
12. Fisherman, by Bai-suo.
13. Water plant, by Kan-yet.
14. Flower, by NAN-REL.
15. Dried fish, by SHI-zAN。 .
16, Fox in the dress of a pr’est, by Suun-n6:
17. Bird-and flower, by K6-y6.
18. Samurai in armour, by SHO-GAKU，
19. Flower, by Gioxu-an.
Nineteenth century.
* Liu Pei, Jap. Riubi or Gentoku, historically known as Chao
Lieh Ti, was a
famous soldier of fortune of the 3rd century A.D., who rose from
the position of
 SHIJO SCHOOL. 441

a vendor of straw shoes to the throne of one. of the three kingdoms into which
China was divided after the fall of the Han Dynasty. He died A.D. 222, shortly
after his accession to sovereign power. (See also Nos. 218, 689, 846, and 1745.)
The story relating to the incident here depicted has not yet been traced.

2396 to 2416. A set of twenty-one drawings, on paper, painted in

colours. Size, 8} x 11%. |
Birds and flowers.
Painted by Ko-yo. Nineteenth century.

2417 to 2421. A set of five unmounted drawings, on silk, painted

in colours. Size, 74 x 7.
Miscellaneous designs. Birds, &c.
Painted by SHO-SHO-TO Kagii-mura. Signed. Seal. Nine-
teenth century.
2422. Unmounted picture, on paper, painted in eolours. Size,
102 x 14}.
Monkey.
Painted by M1-wa. Signed. Seal. Nineteenth century.
2423. Unmounted drawing, on silk, painted in colours. Size,
94 x 11}.
Puppies.
Artist unknown. Nineteenth century.
2424 to 2426. A set of three unmounted drawings, on silk,
painted in colours. Sizes various.
Sparrows.
Painted by Ixx1o. Signed. Seal. Eighteenth century.

2427. Unmounted drawing, on silk, painted in colours. Size,

141 x 223.
Imperial Cortege in Kioto.
Painted by BAI-SHIU Gioxu-x6. Signed. Seal. Dated
first year of Kayei (1848).

2428. Unmounted drawing, on silk, painted in colours. Size,

14} x 225.
Winter scene in Osaka,
Painted by BAI-SHIU Gioxu-x6. Nineteenth century.
442 JAPANESE PICTORIAL ART.

2429. Unmounted drawing, on silk, painted in colours. Size,

11? x 50.
Bird’s-eye view of Itsukushima.
Painted by Naxa-mura Tzrsu-car. Signed Trrsu-aar.
Seal. Nineteenth century.
2430. Unmounted drawing, on silk, painted in colours. Size,
15} x 423.
The Shinto shrines at Isé. (See No. 2376.)
Painted by Txrsu-car after a picture by Kwan-cersv.
Signed. Seal. Nineteenth century.
2431. Unmounted drawing, on silk, painted in colours. Size,
162 x 28.
Landscape. River with bridge.
Painted by Gerxxo. Signed. Seal. Nineteenth cen-
tury.
2432. Unmounted drawing, on silk, painted in monochrome.
Size, 384 X 17.
Dragon.
Painted by Minamoto no O-Kk0. Signed Jr-H5 MINA-
moto No O-K6. Seal. Nineteenth century.
2433. Unmounted drawing, on paper, painted in colours. Size,
473 x 22).
Tiger. From nature.
Painted by 了 AI-SHIN。 Signed Tat-cur San-Ka Kar-suin.
Seal.
“Copied for amusement on a summer day in the period of Bun-
kiu (1861 to 1864).”

2434. Unmounted drawing, on silk, painted in colours. Size,

41 x 14}.
Wild Goose in flight.
Painted by Ka-ezn. Signed. Seal. Nineteenth century.
2435. Unmounted. drawing, on silk, painted in colours. Size,
437 x 18.
Wild Geese and Rushes. Moonlight.
Painted by Gun-pd. Signed. Seal (partly destroyed).
Nineteenth century.
 SHIJO SCHOOL. 443
«ve

2436. Unmounted drawing, on silk, painted in colours. Size,

153 x 414.
Landscape. View of Mount Fuji.
A Daimio’s cortége is seen in the foreground, and two peasants
kneel by the roadside in obedience to the cry “Shita ni iro,” of the
Samurai guard who leads the train.
Artist unknown (Txtsu-ea1?), Seal. Nineteenth century.

2437. Unmounted drawing, on silk, painted in colours. Size,

44. x 163.
Sparrows and peonies.
Painted by Kr1-sun. Signed. Seal. Nineteenth century.
2438. Unmounted drawing, on silk, eres in colours. Size,
394 x 148.
The Fairy attendant of Si Wang Mu (SEI-0-B0 No
SH1JI).
A female figure not unlike that of Benten, crowned with a
Pheenix tiara, and holding a one-stringed instrument of music.
She is supported by a cloud, and a white dragon lies coiled around
her feet. (See Jiki Shiho, vol. iv.)
Painted by Ké-un. Signed. Seal. Nineteenth century.
The handmaids of Si Wang Mu (see No. 705) are described as four in
number, and, like the Déva Kings of Mount Sumeru, are severally related
to the Four points of the Compass, The chief is Tung Shwang Ch’eng
(Jap. Tdsdsei), who is probably identical with the personage represented
in the picture.

2439. Unmounted drawing, on silk, painted in colours. Size,

14 x 28.
Landscape. Spring.
Painted by Hisser. Signed. Seal. Nineteenth century.
2440 to 2442. A set of three unmounted drawings, on silk,
painted in colours. Size, 155 x 39.
Japanese landscapes.
Painted by To-sersu Yo-suin. Signed. Seal. Nine-
teenth century. ;

2443, Unmounted drawing, on silk, painted in colours. Size,

17 x 33%.
Japanese landscape.
Painted by To-sersu Yt-sury. No signature or seal.
Nineteenth century.
444 JAPANESH PICTORIAL ART.

2444 to 2446. A set of three unmounted drawings, on silk,

painted in colours. Size, 163 x 34.
Japanese landscapes.
Painted by Ho-czn TsuNE-NOBU。 Signed. Seal. Nine-
teenth century.

2447 to 2492. A set of forty-six unmounted drawings, on paper,

painted in colours. Sizes, 11? x 163.
Various birds.
Drawn from life or from prepared specimens. Illustrations of
natural history. Rough, but very bold and characteristic sketches.
Painted by No-pa To-min. Signed No-pa TO-MIN Fvst-
WARA NO YoSHI-TOSHI。 Early part of nineteenth century.
2493 to 2522. A set of thirty unmounted drawings, on paper,
mounted in colours. Sizes, 12 x 173.
Various birds. .
Drawn from nature as illustrations of natural history. Carefully
finished.
Artist unknown. Nineteenth century.

2523 to 2630. A set of one hundred and eight unmounted

drawings, on paper, painted in colours. Sizes various.
Various birds.
Drawn from nature or from prepared specimens as illustrations
of natural history.
Artist unknown. One of the sketches bears the date of
the eleventh year of Bunkwa (1814).

2631 to 2637. A set of seven unmounted drawings, on silk, painted

in colours. Sizes various.
“Mhe Seven Calamities.”

1. The Uwabami.
A giant serpent, whose girth exceeds that of the forest trees, has
suddenly reared.its head in the midst of a group of terrified way-
farers. Some other more distant travellers are warned of the
proximity of the reptile by glimpses of the scaly coils visible at
different parts of its rocky lurking place.
There are many Japanese fables relating to serpents big enough to
swallow stags and bears. Some of the larger ophidians, however, exist in the
country, and it is hence probable that the sturies are relics of traditions
imported from Chinese and Korean sources.
 SHIJO SCHOOL. 445

2.. The ** Roc.”

A gigantic eagle has seized a child playing at the threshold of
his peasant home, and is bearing him away swiftly through the air.
The parents rush headlong after the robber, but a scattered heap
of toys upon the ground, and a tiny red coat that swings drying
in the breeze, are all that remain to them of their son.
The legends of gigantic birds, like those of enormous snakes, are probably
of Chinese origin, The Peng Niao is a fabulous bird, said to be “of mon-
strous size, with wings like the clouds of Heaven, with which at every
swoop it speeds upwards at a distance of three thousand li.” It is also
_asserted that “it comes into being by metamorphosis from the Kwen fish,
a monster of the deep.” The flight of this bird is symbolical of rapid
advancement in study (Mayers).
3. The Earthquake.
The scene depicts a village thrown into confusion by a great
earthquake. On the right are seen a man and woman clinging to
a cluster of bamboos, whose tangled roots are thought to be a safe-
guard against the chasms wrought by the convulsion. Around the
place of refuge surges an agitated mass of water impelled by a
tidal wave; the heaving ground is widely rent; the beams and
pillars of the wooden dwellings sway and crack ; walls collapse and
roofs crumble in, burying in the ruins all who have wanted time or
power to escape; men, women and children rush hither and thither
distracted by terror, some losing their footing on the unsteady soil;
dogs, cats, and even birds fall paralyzed by fear; the stone gateway
of the temple is broken, and the shrine itself is overthrown. On
the left a body of men are striving, at the risk of their own lives,
to extricate the sufferers, who lie crushed and imprisoned in the
ruins; and finally, in the background appears the glare of the in-
evitable conflagration kindled by the domestic lights and fires of
the falling households.
Terrible as are the details, the accounts given by eye-witnesses of
the memorable earthquake which destroyed a large portion of Yedo
in 1857 prove that the artist has been guilty of no exaggeration.
4, The Storm.
Clouds, lightning, and torrents of rain. A great cryptomeria is
riven by lightning, and the “ Thunder beast,” a monster of wolfish
aspect, is seen clinging to the falling stem. At the foot of the tree
a peasant struck by the same flash lies bleeding on the ground, his
prostrate body emitting rays of electric light, while a group of
terrified comrades fly wildly in search of shelter and protection.
5 and 6. The Inundation.
The heavy winds and rains of early summer have caused the
swollen river to burst its bounds. An ocean of water precipitates
itself upon the cultivated plains, and while the hurricane hurls
 JAPANESE PICTORIAL ART.

down houses, uproots trees, and whirls the straw-stacks like feathers
through the air, the advancing flood sweeps away every obstacle
opposed to its resistless course. Amidst the wrecks of ruined in-
dustry is seen a solitary fishing-smack torn adrift and half sub-
merged, with its strong masts snapping like reeds; near by, a
raft upon which a few naked wretches have cast their lot is dis-
appearing beneath the overarching crest of a mighty breaker; and
through all, the pitiless rain pours down incessantly in blinding
sheets to swell the already overwhelming mass of the triumphant
element.
The second picture shows a torrent crashing through a fertile
valley, carrying in its bosom fragments of broken buildings, uptorn
trees, and every living thing encountered in its path, A man
is clinging to a thatched roof in companionship with a field snake ;
a solitary child holds himself above water by the support of a
wooden gable; a peasant kneeling upon the shingled summit of a
hut that has been raised entire from its foundations strives to
drag his wife and little ones to him through an upper window; a
woman clasping an infant to her breast strikes out boldly in mid-
stream; another hanging to the boughs of a floating orange-tree
States out her hand to seize her little son who ie just been
carried away from her side; a third, upborne by broken rafters,
tries to steady a young pine-tree, upon a branch of which hangs
her babe, who smiles placidly upon the waters, less moved than the
two serpents entwined upon the same bough, but the mother, upon
whom all depends, is just reeling under the concussion of a massive
beam, and in another moment will be lost. These are the main
incidents of the calamity, but the artist has neglected no detail
that can aid the realization of the scene. The giant Serpent is
seen writhing to gain a rock that stands above the flood; a brawny
draught-ox swims for its life; the little grey lizards detached from
the walls of the destroyed habitations dart through the water in
pairs; a boy’s kite floats lightly on the surface, fortis a raft for
a great yellow toad; and, to complete the story, a shattered water-
wheel wrenched from its bearings rolls helplessly along in the
midst of the current it once utilized for the human beings whose
corpses are whirling in the surrounding eddies.

7. The gateway of the Mikado’s palace.

A number of persons laden with offerings of various kinds are
drawing near the entrance. A group of inferior servants of the
household laugh and joke under the shade of a cluster of pines, and
close by stand two richly caparisoned horses reserved for the use of
the monarch. The falling petals of the cherry-blossoms indicate
the approach of summer.
Painted by Mrnamoro no O-xé6, after pictures by MARU-
YAMA Q-x1o. Signed. Seal.
 SHIJO SCHOOL. 447

The text accompanying the pictures runs as follows :—

“The Seven Disasters, according to the Sutra called the Nin-O
Kid, are Earthquake, Flood, Fire, Gales, Demons, War, Robbery,
and Sickness. The Seven Good Fortunes—Honour, Long life,
Servants in plenty, Riches, Riding in a conveyance (in place of
walking), Corn and Money, Silken Fabrics and Fine Houses (seven
not being understood in a precise sense). The writer had long
desired to put these truths before his fellow-men in a visible form,
but, being no artist, was obliged to have recourse to 卫UJIWARA No
Oxio for aid, who, after working for three years, has produced a
roll which can be understood even by children, and he hopes that
his intentions will be duly rewarded by the rejection of Evil and
firm adherence to that which is Good.”
This prefatory note was written by Prince Emman ae and
copied, together with Ox1o’s drawings, by Minamoto No O-K6.’
Dated gegen year of Anyei (1773).

2638 to 2645. A set of eight unmounted drawings, on silk, in

monochrome. Size, 7} x 6}.
Miscellaneous designs in the style of Hoyen.
Artist unknown. Seal. Nineteenth century.
See also 287 and 814-5.
448 ; JAPANESE PICTORIAL ART.

GANKU or KISHI SCHOOL.

一人 一 一

Tue founder of the Ganku School，KISHI DO0-K0，better known by

his nom de pinceau of GaN-KU, was born in Kanazawa, in the
province of Kaga, about the middle of the last century. He was
at first a retainer of Prince Arisugawa, subsequently entering the
service of the Emperor, and appears to have originally adopted
painting as an amusement; but in his later years the pursuit
became a profession, and gave him an eminent position amongsf
the art teachers of Kioto. His style was based upon the pictures
of the masters of the Sung Dynasty, but by importations from
various other sources underwent sufficient modification to give to
his work a distinctive character sufficient to justify the separation
of his school from the existing academies.
His manner of painting displayed a vigorous individuality equalled
only by one of his contemporaries, Tant Buncuo, and was marked
by a characteristic touch and certain peculiarities of colouring.
He was especially noted for his drawings of tigers, in which
he was a close imitator of the Sung artists, ‘but hig delinea-
tions of birds indicate that the fame of Ox10’s teaching had not
been without an effect upon his theories. The naturalistic element
was, however, far less apparent in his works than in those of some
of his pupils who approached so closely to the Shijé practice, that
the separation of the paintings of the two academies is often a task
of some difficulty. He died in 1838, at the age of 89. (See Nos.
2701 ef seq.) .
He is known by many other names, of which Fun-zen, Kaxan-pd,
Ko-r0-Kwan, and TEN-KAI-KUTSU are the chief, and received the title
of Ura-no-suxt, and afterwards that of CHIKUZEN-NO-SUKE. He is
commonly referred to in books by the respectful appellations of
Gan O or TENKAI O, the honourable Gan or TENKATI.
GAN-TAI named also Gan TAKU-D0 and Kun-cuin, and entitled
 GANKU SCHOOL. 449

CuIKUZEN-NO-SUKE, was the eldest son of Ganxu, and adopted

his father’s manner with an additional leaning towards the
Shijo school. He excelled in the representation of birds,
monkeys and other animals in action, and has left some
effective sketches of Japanese scenery. One of his principal
works is a “ Meeting of Chinese Poets,” upon the sliding walls
of an apartment in the Imperial palace of Kioto.* He died at
the age of seventy, in 1863. See Nos. 2709 et seq.
GAN-RIO, named also Gwa-un and Sat-r10, and entitled UTA-NO-
suki. <A nephew of Ganxv, and a retainer of Prince Arisu-
gawa. Noted for drawings of flowers and insects. Died 1852,
aged 54.
GAN-KEI, named also Sui-zEn, and entitled Nagato-no-suk&. The
son of Gan-Tar. See No. 2289.
Ren-zan (Ao-xr), named also SHI-D0 and Gan-Toxv, was a pupil
and afterwards son-in-law of Ganxu. He was one of the
foremost artists of his time, and has left many drawings
of birds and landscape in a style very similar to that of
the Shijé school. His decorative paintings upon the sliding
walls of one of the apartments of the Imperial palace at Kioto,
representing a flight of wild geese, are amongst the most re-
markable of the pictorial embellishments of the building.
He died in 1859. See Nos. 2712-3.
Bux-P0 (Kawa-mura), named also Ki and Suun. A pupil of
Ganku, but studied also under other artists, and formed an
original style. He was a noted painter of landscape and figure,
and was the author of several albums of woodcuts.
Ki-H6, named also G6-rrsvu. Son-in-law of Bumpo.
Ho-sen. Pupil of Bumpo.
SH0-pd (Mura-xami), named also Toxu and SHI-K0. Pupil of
Ganxv. Died 1855, aged 65.
Kwa-zan (Yoxo-yama), named also IssHd and Suun-rd. Pupil of
Gankv, but followed also the style of Guxxer. He was noted
for drawings of landscape, figure, flowers and birds. Died
1887, at the age of 53. *
Gioxu-sEN (Mocui-psvx1), named also Ki, Té-nv and Sui-yer. A
pupil of Ganxu and Gexxer. Died 1852.
* For a descriptive list of the pictures in the palace at Kioto, see Satow and
Hawes’ Handbook for Japan.
264
450 JAPANESE PICTORIAL ART.

Bum-pet (Matsu-moro), named also Ken. Born in Bingo province.

He became a pupil of Ganxu, and made a reputation as a
painter of landscape, figure, dragons and tigers.
Tax-MIN (Sui-mipsv), named also Ken. A pupil of Ganxu. Born
in the province of Omi. He lived for a time in Kioto, and
subsequently established himself in Yedo. See No. 2725.
YEN-BU (Yosut-pa). A pupil of Ganxv.
Srn-rer (Iki-no), named also Hryo-an. A pupil of Ganxu. See
No. 2716. q
H5-rr (Mort). A pupil of Ganxu. Engaged as artist to the
Daimio of Kaga.
Jun-Ko (Hrro-ss). <A pupil of Ganxu. Noted for drawings of.
oxen and horses.
Haxvu-yen. Son of Jun-xo.
Kaxu-nen (AKA-MATSU), named also Gen-suo. A pupil of Ganxv.
Noted for drawings of landscape and figure.
SAN-TO (Kuri-Kawa), named also Sersu and Suryo. A pupil of
Ganxvu. Died at the age of twenty-two.
Bu-yetsu (Mrya-zawa). <A pupil of Ganxu. Chiefly noted for
drawings of orchids.
TO-KIU (Mura). A pupil of Ganxv.
BAI-GAKU. Son of Toxrv.
SHO-RAN (TAKE-NO-UCHD。 A female artist. Studied under Ox1,
and afterwards under Ganxv, whose style she followed.
Curku-p0, named also Gan-x1. A Kioto artist attached to the
Ganku school; but his pictures of birds and other animals and
‘his landscapes are in the style of the Shijo painters. See
Nos. 2718-20.
BUN-RIN (Sutwo-cawa). In Bunrin of Kioto we meet with one
of the foremost landscape painters of the present century. His
brush was guided by the imagination of the poet and the
cunning of the artist, and has fixed upon paper and silk with
exquisite refinement and suggestiveness the most striking of
those atmospheric effects that cast a fairyland glamour over
the scenery of Japan. Some characteristic examples of his
power are included in the collection. In the spring view of
the Yodo river (No. 2726) he has depicted the soft, changeful
aypours of early morning gently drifting before the rising
breeze. lingering to kiss the rippled surface of the stream,
 GANKU SCHOOL. 451

and half veiling the blossoming gardens of the bank and the
undulating perspective of the fertile hills; the simple mono-
chrome sketch of Lake Biwa (No. 2728) reveals the silvery
expanse of the waters reposing beneath the still transparent
haze of the moonlit air, and bordered by the strong silhouette
of the hilly shore; and the remaining works (Nos. 2721-2)
afford proof of his strength and versatility in other motives.
But the full range of his genius still remains to be demon-
strated.
There is yet but little known concerning this artist except that
he was one of those who took part in the decoration of the
Imperial palace in Kioto, and that he died at an advanced age
in 1877; but his life in the calm retreat of the city of the
Mikados was probably uneventful, and left little that would
interest those who can read his mind in his works.

2a2
452 JAPANESE PICTORIAL ART.

GANKU SCHOOL.
—~————.

2701. Kakémono, on silk, painted in colours. Size, 58} x 331.

Tiger. t
The colouring bears more resemblance to that of the Chinese Chao
Tan-lin than to the ordinary manner of the artist. Compare with
2702 and 2703.
Painted by Gan-xu. Signed. Seal. End of eighteenth
century.

2702. Kakémono, on silk, painted in colours. Size, 49 x 333.

Tiger.
Sketched in ink, with a light wash of colour.
Painted by Gan-xu. Signed Ura-no-suxi Gan-xu. Early
part of nineteenth century.
2703. Kakémono, on silk, painted in monochrome. Size,
193 x 263.
Tiger. (Ucuit no Tora.)
The Buddhistic tiger standing beneath a pine-tree, the bamboo
grass at the animal’s feet inclining under the downpour of the
storm.
Painted by Ko-176. Signed. Two seals. Nineteenth
century.

2704. Kakémono, on silk, painted in colours. Size, 474 x 22.

Peacock.

More strongly coloured than is customary with the artists of this

school. The gilding of the tail feathers has been applied by
an unskilled hand. .
Painted by Gan-xu. Signed UTA-NO-SUKZ Gan-xu. Seal.
Dated 7th year of Tezapo (1836).
 GANKU SCHOOL. 453

2705 and 2706. A pair of kakémonos, on silk, painted in mono-

chrome. Size, 37} x 14.
The Cloud Dragon and the Tiger.
The head of the dragon is sketched in blurred and tremulous
outline, as though gradually assuming form out of the cloud vapour
that environs it.
The pictures are in the style of the Ganku school, but are pro-
bably not the work of the founder, whose name and seal are
appended.
Signed Ecuizen-no-Suxi Gan-xu. Seal. Nineteenth
century.
2707. Kakémono, on silk, painted in colours. Size, 50? x 21}.
Monkeys.
Sketched in vigorous style with a coarse brush.
Painted by GAN-KU and Gan-rar. Signed. Seals. Early
part of nineteenth century.
2708. Kakémono, on silk, painted in colours. Size, 393 x 14.
Taikobo fishing. (See No. 857.)
Painted by Ko-1d. Signed. Seal. Temp. beginning of
nineteenth century.
T'ai-k6-bd (“ Grandsire’s expectation”) is the Japanese form of the name
given to Kiang Tsze-ya, the counsellor of Si Peh (12th century s,c.),
“ Legends relate that when Si Peh was about to undertake his campaign
against the Western. barbarians, intending to divert himself one day with a
hunt, he inquired of an Oracle what his luck would be, and was told that
the tro;hy of his chase would be neither tiger nor dragon, bear nor leopard,
but the counsellor of a king, In the course cf his excursion he accordingly
encountered an aged man who was fishing in the river, whose conversation
proved so sage and impressive that the prince begged him to enter his
service as minister, saying, ‘My grandfather told me that when a wise
counsellor should join himself to Chow, the fortune of Chow should flourish
一 and you are he for whom my grandfather looked.’ ’—Mayers’ ‘ Chinese
Reader’s Handbook,’ Part 1, No. 257.
It is said that he was wont to fish with a straight piece of iron instead
of a hook, but that the fish acknowledged his virtue by voluntarily
impaling themselves for his benefit.

2709. Kakémono, on paper, painted in colours. Size, 674 x 53%.

Eagle and monkey.
An eagle mounted upon a rock, watching for a monkey which is
concealed in a hollow below.
Characteristic of the rougher style of the school. Sketched with
a large brush in ink and lightly washed with colour.
Painted by Gan-rat. Signed Curku-zEn-No-sukE GAN-TAI.
Seal. Nineteenth century.
454 JAPANESE PICTORIAL ART.

2710. Kakémono, on silk, painted in monochrome. Size,

374 x 14}.
Tiger.
The drawing and proportions of the animal are strongly sugges-
tive of an enraged cat, but the introduction of the bamboos and
rain, the customary accessories of the Buddhistic tiger, leave no
doubt that the artist intended to represent the nobler animal.
Painted by Gan-rar. Signed. Seal. Nineteenth century.
2711. Kakémono, on silk, painted in colours. Size, 18} x 263.
A spring view of Mount Fuji.
Painted by GAN-TAI. Signed. Seal. Nineteenth century.
2712 and 2713. A pair of kakémonos, on silk, painted in colours.
Size 413 x 16}.
Chinese landscapes with figures.
Painted by Gan-roxu (Aoxt Renzan). Signed GAN-BUN-
sHIN. Nineteenth century.
2714. Kakémono, on silk, painted in colours. Size, 39} x 14}.
The Empress Jingo and Takénouchi no Sukuné, with
the young Prince Imperial. (See p. 141.)
Painted by Gan-x10. Signed. Seal. Nineteenth century.
2715. Kakémono, on silk, painted in monochrome. Size 432 x 212.
Tiger and dragon. .
Painted by Boxxar. Signed Boxxar Do-sin. Seal. Nine-
teenth century.
2716. Kakémono, on silk, painted in monochrome. Size, 39} x
14.
Tiger.
Great resemblance in touch to No. 2703.
Painted by Ixo-sen-so (or [xt no Senter). Signed. Sealed.
Poetical inscription at upper part of picture. Nineteenth
century.

2717. Kakémono, on silk, painted in colours. Size, 434 x 153.

The temple of Kiyomidzu. Winter scene.
Drawn in the style of the Shijé school.
Painted by Cuixv-pd. Signed. Seal. Nineteenth century.
The temple of Kiyomidzu, one of the most ancient of the religious
 本
GANKU SCHOOL. 459

edifices in Kioto, is said to have been originally built by the novice Enchin
with materials derived from the house of the legendary warrior Tamura-
maro. Part of the building dates only from the Ashikaga dynasty.
Standing upon a hill and raised to a great height above the ground upon
a massive framework of pillars, it is the most conspicuous and picturesque
object of the outskirts of the city. The view of Kioto from the temple is
very extensive and beautiful. For a detailed description of the building and
its contents, see Satow and Hawes’ ‘ Handbook for Japan,’ p. 369.

2718. Kakemono, on silk, painted in colours. Size, 42) x 163.

Sparrows and waterfall.
Drawn in the style of the Shijé school. Compare with the
picture of Kerpun, No. 2265.
Paintedby Curku-p6. Signed. Seal. Nineteenth century.
2719. Kakémono, on silk, painted in colours. Size, 48} x 204.
Monkeys.
Carefully and correctly drawn in the style of the Shijé school.
Painted by Curku-po. Signed. Seal. Nineteenth century.
2720. Kakémono, on silk, painted in colours. Size, 483 x 21}.
Landscape.
Painted by Curku-p0. Signed OHIKU-DO Gan-roxu. Seal.
Nineteenth century.

2721. Kakémono, on silk, painted in colours. Size, 893 x 14.

Sparrow and peony.
Painted by Surwo-¢awa Bun-rin. Signed Bunnin. Seal.
Nineteenth century.

2722. Kakémono, on silk, paintedin monochrome. Size, 46} x 194.

The Dragon of Mount Fuji (Fusi KoSHI no Ri0).
The monster is emerging from the waves, half concealed by a
mantle of cloud. The truncated cone of the Peerless Mountain
rises in the background.
Painted by Bun-rin. Signed. Seal. Nineteenth century.

2723. Kakémono, on silk, painted in colours. Size, 16} x 27%.

Chinese girls making embroidery.
Drawn and coloured in the style of the Chinese school.
Painted by Sui-mipzv Tem-min. Signed Temmin. Seal.
Nineteenth century.
456 JAPANESE PICTORIAL ART.

2724. Kakémono, on silk, painted in colours. Size, 34} x 121.

A peasant’s siesta.
A man and woman resting from labour beneath a rough lattice-
work over which is trained a gourd-plant.
Painted by Kwa-zan. Signed. Seal. Nineteenth
century.

2725. Makimono, on silk, painted in monochrome. Length, 112?

x 102.
Tortoises.
Painted by Trm-miy. Signed. Seal. Early part of
nineteenth century.

2726 and 2727. <A pair of unmounted drawings, on silk, painted

in colours. Size, 45 x 2041.
Japanese landscapes.
1. The morning mists on the Yodo River.
2. Moonlight scene, near Kioto.
The influence of the Shij5 school is strongly manifested in these
works. The first is a remarkable example of the power of the artist.
Painted by Bun-rin. Signed. Seal. Nineteenth century.

2728. Frame drawing (gaku), on silk, painted in monochrome.

Size, 142 x 40.
View of Lake Biwa. Moonlight.
An impressionistic sketch of great power.
Painted by Bun-rin. Signed. Seal. Nineteenth century.
Lake Biwa, in the province of Omi, is the largest lake in Japan.
According to Dr. Rein, it is nearly equal in size to the lake of Geneva,
It lies about 1000 metres above the level of the sea, and its greatest depth
is said to be nearly 100 metres. The legend declares that it appeared in a
single night coincidently with the upheaval of Mount Fuji on the borders
of the provinces of T'suruga and Kai, and it was believed that the excavation
of the depths now filled by the waters of the lake provided the material
for the construction of the Peerless Mountain.
 ( 457) -

DRAWINGS SHOWING EUROPEAN

INFLUENCE.
一 一 一

WHEN we consider the length of the period during which Japan

has held intercourse with certain Western nations, it is somewhat
remarkable that Japanese art—omitting from consideration that of
the last ten years—has displayed so few traces of European influence.
From upwards of three hundred years ago, traders and missionaries
of various nationalities have had access to the country, where they
have not failed to leave enduring marks of their presence in mat-
ters other than esthetic ;and several educated natives have visited
the great centres of the pictorial art of the West. As early as 15385
a number of envoys were sent to Rome by the Daimio of Bungo, and
thirty years later Hashikura, a retainer of Daté Masamuné, Daimio
of Sendai, also visited the Holy City. These men must have seen
the art treasures of the place, and perhaps brought back specimens
as offerings to their lords. Hashikura at least was the bearer of
one relic, in the shape of an Italian altar-piece, a very poor work
in oil, which is still in existence.
~The effect of this experience upon the productions of the tative
schools was apparently nil.
In the latter part of the eighteenth century some principles of
European art were made known by Dutch traders and settlers.
About 1780 Supa Goran learned the art of engraving on copper,
together with a smattering of perspective and other branches of
pictorial science, from a Dutch resident in Nagasaki, and produced a
book of travels and some albums of etchings, in which his foreign
accomplishments were displayed but not made attractive. He was
in fact a very indifferent artist, and was only saved from oblivion
by the novelty of the information he so imperfectly conveyed to
his countrymen. About the same time—in 1785—appeared a book
 l
a

458 JAPANESE PICTORIAL ART.

called Kémé zatsuwa, treating of matters to be learned from the

Dutch, in which the tools of the copper-plate engraver were depicted,
and some of the plates of Gérard de Lairesse were reproduced by
woodcuts, nearly in facsimile. From this time we meet with little
in the style of the “ Ran-gwa” (Dutch pictures) beyond a clever
album of copper etchings, the Doban sai gwa cho, by Oka-pa SHUN-
TO-SAT published about 1855 (in which not only linear perspective, but
some rudiments of chiaroscuro were introduced) ; the Tokaido go-jiu-
san Eki, a similar but inferior work ; and a few travesties of foreign
pictures, such as those which illustrate the Life of Napoleon (Kaz-
gat jimbutsu. Sho-den, 1860); the History of America (Meriken
Shin-sht, 1855), the description of Yokohama (Yokohama kaiko
kemmon shi, 1862), and a few drawings of little merit by obscure
draughtsmen. Hoxvsar notices Dutch art only by an incorrect copy
of two perspective diagrams, and the introduction of perspective in
a few of his illustrations to novels; 及 EISAI Masayosui, Hashaawa
Serran, and many others, also knew a little of the science, but only
made use of it on rare occasions where their ordinary practice was
found inadequate, as in the delineation of the interior arrangement
of a theatre, or the whole extent of a street; and, lastly, H1rosuics,
who worked from about 1820, made constant use of the rudiments
of perspective, but seldom recognized any other elements of our art.
It will thus be seen that only a few known artists have allowed
foreign example to materially affect their practice in drawing, and
these were all members of a school still despised by the connoisseurs
of their own country.
This apparent want of receptiveness may perhaps be traced partly
to the habits of thought stereotyped by centuries of Chinese teach-
ing, but is chiefly due to the inferior nature of most of the specimens
of European art that reached Japan. In the last ten years better
opportunities of understanding the new principles have been afforded
by the engagement of Italian instructors in connection with the
Engineering College of Tokio, and by the visits of able English and
American artists; and there are now a large number of the new
generation who are adopting the foreign system in its entirety,
and many others who are making a bad compromise between the two
methods. It is owing to the exclusive study of the worthless pro-
ductions of men of the latter class that many erroneous views of
Japanese art have crept into European books.
 ( 459)

DRAWINGS SHOWING EUROPEAN

INFLUENCE.
od

2751 to 2761. A set of eleven unmounted drawings, on silk,

painted in colours. Sizes various.
Foreigners and foreign vessels at Nagasaki.
1 and 2. Dutch ships. Drawn with great attention to detail.
By the side of one of the pictures is a written description in Dutch
of the date of the vessel’s arrival (1818), the name of the captain,
and other particulars.
3. A Malay (?) fishing-boat.
4 and 5. Chinese junks.
6 to 10. Portraits of a Dutch officer with his wife, children, and
servants, and some Chinese merchants.
11. View of Deshima.
The drawings have been taken from nature and worked up with
much care, but the artist appears to have derived his education
from an indifferent foreign draughtsman, and has only been able to
offer a poor imitation of “‘ Western art.” The productions are, how-
ever, interesting as early examples of what may be termed the
Dutch school.
Some of the pictures are signed and bear seals, others have no
indication of the artist’s name and are somewhat different in style.
Painted by IsHr-zAKI Yusar-rirv. Signed. Seal. Early
part of nineteenth century.
2762. Kakémono, on silk, painted in monochrome. Size, 193 x 13}.
The Crucifixion.
A copy of a European engraving. Carefully executed, but
apparently taken from an indifferent lithograph.
No signature or seal. Nineteenth century.
2763. Unmounted drawing, on paper, painted in colours. Size,
17 x 13}.
Japanese fishermen.
Painted in 1878 by Tama (a female artist).
460 JAPANESE PICTORIAL ART.

2764. Unmounted picture, on silk, painted in colours. Size,

284 x 374.
Tea-farm at Tenritgawa (near Tokio).
Characterized by an attempt at Chiaroscuro,
Painted by YIU-HIO. Signed. Seal. Nineteenth century.
For a description of the scenery of Tenriigawa, see
‘ Guide-book for Japan,’ p. 156.
2765. Kakémono, on silk, painted in colours. Size, 324 x 151.
Portraits of a family of Saghalien Ainos.
A fisherman with his wife and two children. The upper lip of
the woman is tattooed blue. Her infant is slung across her back
as amongst the lower classes of the Japanese, but is suspended by a
cord that passes around her brow.
Artist unknown. Seal. Nineteenth century.
2766. Makimono, on paper, painted in colours. Length, 417 x 11}.
The People of all Nations.
Artist unknown. Nineteenth century.
This is a very common motive, and has been copied, with slight varia-
tions, many hundreds of times for educational purposes. The figures
are more comical than instructive.

See also Nos. 1756, 1777, 1905, 2344, and 2376.

 ( 461 ).

MIXED SCHOOLS.
一
-一和一 一

2801 to 2827. A set of twenty-seven unmounted drawings, on

silk, painted in monochrome and colours. Size, 8 x 8.
Miscellaneous album sketches.
Painted by various artists of the early part of the present
century, chiefly of the Chinese and Shijé schools.
. Carp, by Yo-roxv.
. Crane, by YO-TEt.
. Bird and flower, by BoKU-SEN Ho-suin.
. Birds, by SHO-KOKU。
. Landscape, by Kwan-sH6-sal.
. Landscape, by Té-san.
. Landscape, by CHO-MEI
. Landscape, by OHo-D0.
. Landscape, by SETSU-D0，
OND
oonrnranrr

. Rats, by BAN-JIU。
. Kingfisher, by SETSU-D0，
. Boy.on ox, by Gwa-k16.
» Berries, by NAN-KEI.
. Chestnut, by SHIN-IN.。
. Chestnut, by 及 IU-SHIN。
. Flowers, by Sué-xwa.
. Flowers, by K6-xx1.
. Flowers, by SEN-sAI.
. Sparrow, by D5-SHIU，
. Bird and flowers, by K1u-st,
. Bamboo, by UN-P0.
. Plum-tree, by YO-Ret.
. Hanshin crawling beneath the legs of a coolie, by K16-an.
See No. 1013.
. Street scene, by D5-ITSU.
. Butterfly, by TEersu-n6.
. Winter landscape, by OHO-NIN，
. Landscape, by Ko-sun.
Signed. Seals.
Some of the pictures bear the date of 1833.
462 JAPANESE PICTORIAL ART.

2828 to 2853. A set of twenty-six unmounted drawings, on

paper, painted in monochrome and colours. Sizes various.
Miscellaneous sketches.

By various artists of the beginning of the present century,

chiefly of the Shij6 school.
. Monkeys.
. Sparrow and plum-tree, by Bum-pé.
. Landscape, moonlight, by Bun-k6.
. Landscape, by 及 AI-FUKU.
. Landscape, by 工 0-KITSU。
. Shdj6, by GETSU-REI。
. Bird, by SHO-KEI.
. Ox, by YEKI-SHIN.
be
&
oP
DD. Moonlight scene, by GxEssuiv.
OON

10. Flowers, by Su1-REI.

11. Landscape, by SEI-KA，
12 to 14. Landscapes, by CHO-NEN。
15. Flower, by Rié-suiv.
16. Landscape, by Bar-sen.
17 and 18. Moonlight scenes, by Tat-x1v.
19 to 27. Various subjects, by unknown artists.

2854. Album of drawings, on silk, painted in monochrome and

colours. Size, 84 x 34.
Sketches by various artists.
The pictures are all uniform in size, and were evidently drawn
expressly for the album by the contributors, who include most of
the leading Kioto artists of the early part of the present century,
as well as many well-known calligraphists. The schools re-
presented are Tosa, Kano, Shijé, Ganku, and Chinese.
The following is a list of the pictorial contributions :—
. Birds in silhouette, by Ka-no HO-GEN Tan-rid.
. Crabs in silhouette, by K1-H6.
. Landscape, by Maru-yama O-RIU。
. Bird and plum-tree, by Kano Nui-no-sukt YEI-GAKU.
. Butterfly, by Fusa-niKo.
. Crane, by CHIKUZEN-NO-SUKE GAN-TAL
. Court noble picking up cash, by Tosa Mirsu-yuxt.
. Moth, by Hui-Kata GEN-HEI.
COD
BP
Or
SD
ON
O . Landscape, by T6-zan.
. Landscape, by SEI-RI0.
. Bamboo, by Kat-zan.
oe
Oo
Noe. Kugé, by an unknown artist.
 MIXED SCHOOLS. 463

. Landscape, by Ka-caxv.
. Flying crane, by Tosa Mitsu-yosut.
. Fungus, by Tosa MITSU-KIY0。.
. Chinese lady, by RAn-sersu.
. Landscape, by K6-sxo.
. Landscape, by REN-ZAN JosuHl.
. Frog, by OHIKU-JIU。
. Bamboo, by K1u-s1.
. Winter scene, by T6-KEI.
. Landscape, by S6-HAN.
. Rat, by Y1u-sEn,
. Landscape, by OTsu-xo.
. Bird, by Kiv-si.
. Landscape, by 及 IN-JO-SEI，
. Landscape, by Ko-sEx1-HAl.
. Plum, by Sui-wo.
. Plums, by Ren-zan GANn-TOKU.
. Bamboo, by BoKU-ITSU，
. Landscape, by Kan-zan.
. Chrysanthemum, by SETSU-HO，
. Plum, by Bat-Ret.
. Landscape, by Kiu-Ko.
. Pine, by Kiu-suun.
. Rose, by BAI-SEN.
. Monkeys, by TIKKEI-SATI。
. Landscape, by Hara Zat-sHo.
. Hotei, by an unknown artist.
. Bird and plum-tree, by Mo-xo-x1.
. Bamboo, by Yu-cHiku.
. Landscape, by Sur-R1.
. Wasp and nest, by 了 ATSHO.
. Flower, by Kio-vu.
. Landscape, by SAI-SHO。
. Landscape, by CHIKU-GAN。
. Landscape, by CHIKU-SHO-SEI.
. Landscape, by Rirsu-zan.
. Orchid (Ran), by SHID-RAN。
. Flower, by 及 PIGI.
. Orchid, by Su6-v.
. Landscape, by Hoso-nam1 HIO-HIO，
. Clam, by Ro-Ho.
. Pines, by R16-GEn.
. Landscape, by SEI-KI.
. Clam mirage, by KAn-zan.
. Orchid, by Mv-sat.
. Flower, by O-wer-Hon.
. Hermit Crab, by an unknown artist.
464 JAPANESE PICTORIAL ART.

60. Hotei, by Er-sat.

61. The boat with the three Precious Jewels, by HAN-ZAN。
62. Insect, by Ko-curv.
63. Ege-plant, by Ki-sur.

2855. Album of twenty-six pictures, on silk, painted in mono-

chrome and colours. Size, 11} x 9}.
Miscellaneous sketches by various artists.

Chinese School.
1 to 12. Various subjects. Artist unknown, Seals.
17. Chinese children, by Tan-sut (at the age of 62).
18. Chinese landscape, winter scene, by R16-sEN.
19. Sparrow and grapes, by 'T’suRu-KAWA.
21. Plum and camellia blossoms, by T6-K6-sa1.
23. Bird. Winter scene, by 也 ARU-KI Nan-Kwa.
24, Fishes, by NAN-SEI.
25. Grapes. Copied by Té-sen from a Chinese picture of the
Ming dynasty.
26. Landscape, by T6-REI.
27. Coast scene. Evening. Artist unknown.

Yamato School.
13. Ono-no Komachi reading the verse which brought rain in a
period of drought. Painted by Kano SHIN-SHO at the age of 65.
Signed. Seal.
An example of a picture in the Yamato style, by an artist of the
Kano school.
22. The ‘ Butterfly dance.’ Painted by AwADA-GUOHI Fusi-wara
No T'AKA-YOSHI.

Kano School.
14 and 15. Chinese landscapes. Painted by Ser-sur (no signature).

Shij5 School.
16. Cherry blossoms. Painted by K6-son D6-s1n Ko-sersu.
Bunché section of Chinese School.
20. Convolvulus. Painted by Bun-xixu Jo (female artist).

2856. Makimono, on silk, painted in monochrome and colours.

Copies of pictures by the old masters of China and
Japan. Length, 348 x 123.
1 to 10. Chinese.
1. Orchid, in monochrome, after T'sz’ Cx’wana (Jap. Sussd).
2. Sweet melons, in monochrome, after YUNG Tren (Jap. YO-DEN)，
 MIXED SCHOOLS. 465

3. Dragon, in monochrome, after OHAO Une (Jap. Sxo-wo).

4. Bodhi Dharma, in colours, after Tsz’ Mao (Jap. Su-co or
CHO-SU-G0O).
5. Priest with peach blossoms, in colours, after NGAN 了 wuI (Jap.
GAN-KI).
6. Grapes, in monochrome, after JI-KWAN (Jap. Ni-Kwan).
7. Bodhisattva rising from the sea, after T'sz’ Tuna (Jap. Serré).
8. Bamboo, in monochrome, after SU-SHE (Jap. T6-Ba).
9. Fruit, in colours, after Li-x1 (Jap. Rid-x1).
10, Children, in colours, after 了 TU-YING (Jap. K1u-yer).
11 to 16. Japanese.
11. Japanese poet by the side of a waterfall, in colours. Copied
from an old Tosa picture (15th century).
12. Han-shan and Shih-te, in monochrome, after SHIG-BUN
(15th century).
13. Wild geese, in monochrome, after SessHid (15th century).
14, Satsuma potato plant, in monochrome, after Sxsson (16th
century).
15. Bird, in monochrome, after GEN-sHIN (10th century).
16, Landscape, in monochrome. Rapid sketch by Kano Té-un.
Painted by Kano To-un. Signed. Seal. Eighteenth
century.

2857. Album of drawings, on paper, mostly in monochrome.

(From the Siebold Collection, No. 497.)
Designs for sword-guards (TsuBA) and handles of small
scabbard knives (Kopzuxra).
The book is entitled ‘On Tsuba né kagami’ or Manual of Sword-
guards, by OKADA MASATOY0，
Dated ninth year of Bunsei (1826).
The designs, which are elegantly drawn with a fine brush, are
about one hundred in number. A few bear inscriptions as
follows :—
1. Tsuba design. Plum blossoms. Made by Y6-sat.
5a. Tsuba design. Chrysanthemums. Drawn (copied) by
工 o0-GIOKU.
5b. Reverse of the last. Made by Gun-I-sua. Drawn by To-
GIOKU.
8. Tsuba design. Cherry blossoms. Drawn by To-cioxv.
11 and 12. Tsuba designs. Cloud dragons. Seal “ Su-Koxv.”
13. Tsuba design. Interwoven rings. Made by 及 ANE-IYE.
16a. Tsuba design. Wave dragon. Engraved by CHo-GwA-Ko.
Drawn by To-cioKu.
25
466 JAPANESE PICTORIAL ART.

18b. Tsuba designs. Pine branches. Made by Mr-sara. Drawn

by 工 0-GIOKU.
19a. Tsuba design. Ground plant. Seal (of designer ?) SEI-KOKU.
19b. Reverse of the last. Engraved by Ju-mio-sar. Drawn by
“the ancient T6-cioKu.”
21. Tsuba designs. Boatman. Drawn by Ura Kagf-masa.
22. Ko-dzuka. Three Chinese landscapes. Drawn by 工 0-GIOKU.
24a, Tsuba design. Cloud dragon. Drawn by “the ancient
MASA-YOSHI.”
24b. Reverse of the last. Dragon quitting the waves. Drawn
by -Masa-yosui at the age of 69.
25. Tsuba design. The Thunder-god. Drawn by K4A-s6-sa1.
MasA-Toyo, whose name appears after the title; is referred to in the
Kinko benran as a pupil of Nomura Masa-mirsu. His common name
was Sagoro, but he seems to have adopted the surname of his master
Nomura. He lived in Ashiu (Awa), one of the four provinces of
Shikoku.
 (#4679)
eee ee eee

MISCELLANEOUS ROUGH SKETCHES.

2901 to 2919. A set of nineteen unmounted drawings, on paper,

painted in colours. Sizes various.
Designs for screens.

Painted by Bun-x6. Signed. Dated fourth year of

Kokwa (1847).

2920 to 2976. A set of fifty-seven unmounted drawings, on

paper, painted in monochrome. Sizes various.
Miscellaneous rough sketches: originals and copies.

Painted by Er-rmv. Nineteenth century.

2977 to 2983. A set of seven unmounted drawings, on paper,

painted in colours. -Size, 16} x 11.
Saints-and Genii.

Sketched in the style of Grsszn. Artist unknown. Nine-

teenth century.

2984 to 3014. A set of thirty-one unmounted ties on paper,

painted in colours. Size, 19 x 7}.
Miscellaneous rough sketches; designs for kakémonos.

Artist unknown. Nineteenth century.

3015 and 3106. A set of ninety-two unmounted drawings, on

paper, painted in colours. Size, 73 x 103.
Rough sketches of Japanese scenery.

Painted about 1875. Artist unknown.

2u2
468 JAPANESE PICTORIAL ART.

3107 to 3383. A set of two hundred and seventy-seven drawings,

on paper, painted in monochrome and colours. Sizes
various.
Miscellaneous sketches by various artists.
Nineteenth century.

3384 to 3399. A. set of sixteen unmounted pictures, on paper,

painted in monochrome and colours.
Rough copies from various artists, Chinese and
Japanese.
 ( 469)

EMBROIDERIES.

The embroidered picture (niw-hakw) is historically coeval with painting.

The art was once extensively used in the production of Buddhist kaké-
monos, and works of this kind attributed to Sadroxu TAISHI and CHIUJO-
Him are still extant; but it was also in early times an accomplishment
of ladies of rank, as in European countries during the middle ages. For
the embellishment of robes, sashes (ob¢), wrappers (fukusa), &c., it has
long constituted an industry of great importance, which has its chief
centre in Kioto. The work is in the hands of artizans, who carry out
designs supplied by or adapted from the works of painters of the various
schools. A combination of embroidery with stencil printing is frequently
met with both in wrappers (fukusa) and robes.
In recent years large embroideries, in emulation of the old European
tapestries, are made for the foreign market, and an active manufacture of
screen decorations is carried on in Kioto and other parts of Japan.

3501. Kakémono. Embroidery on silk. Size, 24} x 11}.

Buddhist divinity. Kwanyin P
Seventeenth century (?).
3502. Kakémono. Embroidery on silk. Size, 37 x 13}.
Crane flying above the waves.
The diaphanous texture of the silk upon which the work is
executed allows the wall surface behind the picture to appear cs a
background to the design.
Nineteenth century.

3503. Kakémono. Embroidery on silk. Size, 363 x 14.

Cranes and peonies.
Nineteenth century.

3504. Kakémono. Embroidery on silk (transparency). Size,

28 x 10.
Chrysanthemums.
Nineteenth century.
470 JAPANESE PICTORIAL ART.

3505. Kakémono. Embroidery on silk (transparency). Size,

133 x 203.
Rabbits and peach-tree.
Nineteenth century.

STENCIL PRINTS.
A mode of colour printing, upon the same principle as the stencil
work of Europe, was introduced by Somi-ya YO-zEN, a well-known
dyer of the latter part of the seventeenth century. The whole
picture is upon a single piece of silk, the different bordering
materials of an ordinary kakémono being imitated by stencilled
patterns. The art is brought to such perfection in the present
day that the products are sold as hand paintings. Interesting
descriptions of this and the allied processes will be found. in
Dresser’s ‘ Industrial Arts of Japan.’

3521. Kakémono, on silk, printed in colours. Size, 353 x 153.

Cranes.
Nineteenth century.

3522. Kakémono, on silk, printed in colours. Size, 37% x 11}.

Chinese scene.
A sage with a large sun-hat is crossing a bridge to reach a house,
in the verandah of which is seated a lady.
The mode of execution is similar to that in the preceding picture.

WOOD ENGRAVINGS.
3532. Kakémono. Wood engraving. Size, 26 x 108.
Daikoku.
The execution of the cut is rough, but displays some artistic
power. ‘The original block is said to have been engraved by
Kosd DAISHI in the early part of the ninth century. If genuine, it
would prove that pictorial woodcuts were made by the Buddhist
priesthood nearly seven centuries before the art was applied to
book illustration, but as remarked in the Introduction, the number
of works of art attributed with obvious falsity to 及 0B0 DAISHI and
other prominent leaders of the early Buddhist Church, is so great
as to cast doubt upon the authenticity even of specimens which
present no decided signs of a fabricated history.
 ‘WOOD ENGRAVINGS. 471

3533. Kakémono. Wood engraving. Size, 503 x 22.

Iyéyasu and his eighteen celebrated retainers.
The block from which the impression is taken probably belongs
to the last century.

WOVEN PAPER PICTURE.

3541. Unmounted drawing on woven paper, painted in mono-
chrome. Size, 38} x 18}.
Mandjus’ri and devotee.
The subject has been painted partly upon one, partly upon the
other of two sheets of paper, each sheet is then cut into narrow
strips, in the one case lengthwise, in the other transversely, and the
strips are interwoven. The drawing as seen in the completed
picture has somewhat the effect of needlework, and any beauty of
line it may have possessed is necessarily spoiled by the perverted
ingenuity of the process to which it has been subjected. See also
No. 114 Chinese.
Artist unknown. No signature. Seal (‘To-rExr (?) ).

BASSO-RILIEVO PICTURE IN PLASTER.

3551. Framed picture in plaster, partly modelled in low relief,

partly painted. Size, 127 x 234.
Landscape. A temple pavilion built out over a lake.
Copied by 及 AN-D0 from a drawing by Tacui-Bana No MORI-
Kuni. Signed 及 AN-DO San-sin. Seal.
This kind of picture appears to be of recent origin, probably within the
last thirty years. The border, which is painted in imitation of a wooden
frame, is a part of the slab of plaster upon which the subject is depicted.

CALLIGRAPHY.

3561. Kakémono. Specimen of calligraphy. Written upon silk.

Size, 414 x 11}.
Framed or mounted specimens of calligraphy are as common and as
highly prized as pictorial designs. Writing is a fine art in China and
Japan, and, as such, ranks second to none in the estimation of the educated
classes, and is in a certain sense the basis of Japanese pictorial art. Like
painting, it has its great masters, and the history of the accomplishment
is enveloped by a halo of the marvellous, which almost casts into shade
the stories of Kanaoka’s horse and CHO DENSUS Atchala.
472 JAPANESE PICTORIAL ART.

3562. Unmounted specimen of calligraphy, on paper. Size,

464 x 201.
A large and complicated character executed by an uninterrupted
stroke of a broad brush. The perfection of its proportions, the
firmness of line, and the grace of the various curves will demonstrate
the extraordinary command of pencil acquired by the Oriental
calligraphist.
Signed. Seal,
 ( 473)

APPENDIX.

SEALS, SIGNATURES, INSCRIPTIONS, &c.

Tue custom of appending to a picture a mark personal to the artist is
not of very old date in Japan, although existing from an early period in
China; but since the middle of the fifteenth century the seal, with or
without the signature, is seldom absent, except in Buddhist paintings,
and portraits of important personages, in either of which cases the
introduction of the artist’s name would usually be regarded as in
bad taste.

The seal not unfrequently appears without the name, especially in

the works of the early Kano artists; but the signature is never, unless
by accident, written without the seal or a hand-drawn sign (Kakihan)
as a substitute.
Artists commonly possess a variety of seals, and as the seal characters
can be deciphered only after a special study, and when read may give
only a fanciful name differing from any of the appellations by which
the painter is known to the public, their use is often very perplexing.
Fortunately, however, some guidance may be obtained from books of
facsimiles such as the-Kun in Hoésho, Man-pé zensho and others, which
may be used to identify doubtful impressions ;* but difficulties, arising
partly from the incompleteness of these collections and partly from the
number of forgeries to be found in the market, will often require the aid
of special experts for their elucidation.
The seal is impressed with red ink (consisting chiefly of vermilion,
and oil of Sesamum Orientale with a little wax), and is usually placed
in the lower part of the picture, below the name, Etiquette pronounces
it “impolite” to assign an elevated position to the stamp, but this rule,
as well as that which forbids its appearance altogether in Butsu-yé and
portraits, is not always observed.
Besides the name-seal, another stamp is frequently met with in
Chinese, and sometimes in Japanese kakémonos, called the Kuam-bo,

* The following is a list of books containing facsimiles of seals—

Kun in Hosho. 1810. Honché Gwa-shi. 1693.
Man-pé zen-sho. 1694. Sho-qwa zen-sho, Circa 1862.
Gwa-ko Sen-ran. 1740 (Kano school only). | Shd-gwa-kai-sui. 1833.
474 APPENDIX.

which marks the point at which the artist began his work, and com-
monly includes the characters of a familiar classical sentence or verse of
poetry.
Should a calligraphist contribute a verse or other inscription to the
picture, his seal, with or without the signature, is commonly appended
to the composition ; and, in instances where the writer is of greater note
or higher rank than the painter, the seal of the latter may be omitted.
Other seals, occasionally found in old and valuable pictures, are
those of owners, or of connoisseurs who have examined the work in the
capacity of experts.

The signature was frequently omitted by the artists who lived

anterior to the seventeenth century, but is found iin nearly all preys
of subsequent date.
The nature of the signature varies considerably, the artist not only
having the choice of many real and assumed names, but diversifying
them by various titles or fanciful appellations. The laws of pronun-
ciation of the characters forming a name are moreover very complex,
and it may require a knowledge not always possessed even by educated
Japanese to select the right reading.
The artist is most commonly known by his personal name, or by a go
or professional name (nom de pinceau), the family cognomen being often
omitted, and in some cases altogether unknown.
In signatures both the family and personal names may be written, as
Kano Téshun (the family name being placed first), or the personal name
only, as T'sunénobu for Kano Tsunénobu, and by exception one cha-
racter only of each or either name may appear as Oka Kan for Oka-da
Kan-rin.
Various titles may accompany the name, and in pictures of the Tosa
school these may constitute a formidable array. Thus in No. 268
Tosa Mitsuyoshi signs ‘ Sho-roku i-no-gé, Sakon-yé no Sho-gen, Fujiwara
no Mitsu-yoshi’; and in No. 238, Tosa Mitsusada writes himself ‘Edokoro
Adzukari, Shogo-i-gé, Tosa no Kami, Fujiwara no Mitsusada’; the first
two words giving his official position as keeper of the Imperial pictures,
the succeeding term defining his precise rank, and the appellation Tosa
no Kami, or “ Lord of Tosa,” being a complimentary title which appears
to have become hereditary in the Tosa line. Fujiwara was the name of
the clan, and Mitsusada the personal name, that by which the artist
would actually be recognised.
The titles conferred upon artists, exclusive of ordinary degrees of
nobility and official rank, are as follows :一

E-dokoro, E-sho or Gwa-sho. The name of an office, said by some

authorities to date from the eighth century, bestowed upon dis-
tinguished painters attached to the court, and usually falling to
the lot of members of the Fujiwara or Tosa family. The duties
attached to the position are not well known, but probably included
 APPENDIX. 475

the execution of paintings under the direction of the Emperor.

The office of Kasuga Yé-dokoro is said .to have been associated
especially with Buddhist art. According to the Honché Gwashi the
first appointment was conferred upon Fujiwara no Takayoshi
(11th century).
B-dokoro adzukari. Keeper of the Imperial collection of pictures.
Héin, Hogen, and Hokkid. Titles originally belonging to the Bud-
dhist priesthood, but subsequently conferred by the Shéguns upon
artists (chiefly of the Kano school), who had nominally retired into
the bosom of the Church.* They conveyed no definite rank, but
nevertheless brought more or less social consideration. Their
relative importance is indicated by the order in which they are
named. In signatures they may be placed either before or after
the name. (See Nos. 1276, 1279, and 1377.)

The self-assumed titles usually adopted after the nominal retirement

from worldly cares are very numerous. ‘Those more commonly appended
to names of artists are :一
San-jin. Hermit, or man of leisure. Lit. ‘man of the mountains,”
in allusion to a custom in ancient times amongst Chinese men of
learning of retiring to philosophize in rural or mountain retreats
when fatigued with the turmoil of the world. (See No. 635.)
San-téki. Has a similar signification as a man in retirement.
Son-zjin. Villager.
Isshi. A retired writer or artist.
Cho-sha, Gio-jin, or Gio-shi. An angler. Really a man of leisure. It
probably alludes to the occupation of Kiang Lii-shang, who occupied
himself in fishing while waiting for a call to fame.
Yu-jin, Kan-jin. Man of leisure.
Gu-jin. Stupid fellow.
Ya-jin. Uncivilized man.
Chin-jin. A useless or unserviceable person. An obtrusively modest
designation which, like most expressions of the kind, must be
regarded merely as a dictate of “the pride that apes humility.”
(See No. 668.)
Kwai-shi. A lover of antiquities.
Gwai-shi. One who records from without, i.e., independently. (See
No. 669.)
Gwa-shi. Pictorial artist. (See No. 870.)
Dé-jin. One who practises religious austerities. (See No. 642.)
Shiii-jin. Master or owner (of a house). (See No. 610.)
* It is a frequent custom in Japan for men who have passed middle age to shave
their heads and nominally or actually to resign the charge of their worldly affairs to
their successors. In this retirement, expressed by the term inkio, the person holds a
relation to the Buddhist Church somewhat like that of the Abbé to the Roman Catholic
Church, It often occurs, however, that his worldly activity continues without
diminution, and may’ even- be replaced by a power greater, because more subtle, than
that previously wielded.
476 APPENDIX.

Mon-jin. Pupil. (See No. 1227.)

Ré-jin. Man of years. The terms Gwa-kié Réjin, or “Old. man
infatuated with pictures,” and Rdjin Manji, “The Ancient of a
Hundred Centuries,’ were assumed as names by 也 OKUSAI in his
later years. (See No. 1005.)
Jo-shi. Female writer or artist. (See No. 709.)

Almost every artist has one or more noms de pinceau, which may be
employed in substitution for his real name. Such appellations were
especially affected by painters of the Popular school. Thus all the
names by which Hoxusai is known (Katsushika Hokusai, Sori, Saitd,
Tamé-ichi, &c.) are of this kind, while his true family and personal
names still remain a matter of uncertainty.
These go names or professional designations are often assumed in
an incomplete form by pupils. Nearly all the followers of Hoxusar
adopted one or other of the two characters forming the name, as in the
cases of Hoxker, Hoxvu-sa, and I-sat; and more rarely the entire name
has been transferred or appropriated, as when Uracawa Kunisapa
abandoned his personal name in favour of that of his predecessor
ToyYogUNI and became thenceforth “ToYOKUNI THE SECOND.”

The age of the painter is frequently recorded after the signature, but
seldom until an advanced period of life has been attained.*
The date of execution of the work is sometimes written upon it, and
is recorded either by means of the Nengé (a period of years correspond-
ing to a reign or part of a reign) or the Cycle of sixty years. In the
latter case it may be impossible to determine the age of the picture.
Both systems of indicating time are extremely troublesome, even to the
Japanese.
Descriptive and poetical inscriptions are frequently written near the
drawing, and in some cases the calligraphy so introduced may be of
greater value than the pictorial work.

Old and important paintings are often guaranteed by written certifi-

cates from some recognized connoisseur. ‘The value of such documents
is, of course, subject to variation from circumstances of the same kind
as those which affect the credibility of similar assurances of authen-
ticity in Europe.

* Age in Japan, as in China, carries with it a claim to respect per se, and hence
when a man has long passed the meridian of life he is proud to make known his full
tale of years, and is perhaps occasionally tempted to enlarge his title to consideration
by fictitious additions to the true number. In the registration of age the current year
is added to the total, so that a person who has just entered his sixty-third year is called
sixty-three years old. The ordinary European custom has, however, been followed in
all references attuched to the foregoing pages, except where inscriptions or extracts are
quoted verbatim, and hence the age will appear to be one year less than that given in
native accounts.
 APPENDIX. 477

The words which correspond to the fecit or pinwit of European painters

aud are commonly written after the name, are :一

Hitsu, pencil.
Gwa, picture.
Dzu, planned (drew).
Shirusu, marked (drew).
Sei, executed.
E-gaku, drew.
Setsu-gd, unskilful pencil.
Sui-gwa, drawn when intoxicated.
Utsusu, copied.
Yoru, following, or after.
Kei, bestowed, or executed.
Mosu, copy.

The characters Utsusu and Mosu do not necessarily imply a copy in

our sense of the word, but may mean an original picture copied from
nature.
The above terms may be qualified by the addition of various expres-
sions, as :一
Wa-shuku, Tsutsushindé or Kin, respectfully.
Tsutanaku or Setsu, unskilfully.
Tawamuré ni or Gi, for amusement.
O-jiu, in response to the request of.
Kokoro-mini, for experiment.
Haidai, respectfully denominated.
Tai-shi. Princely gift. Applied to names of artists,
&c., conferred by the Sho-gun. See No. 2296.
Tai-mei. Princely order.
&c. &e.
x fo a Zi 加 nNFX =< qi = hd om eal a wa
一 |一LY Ee Eo)an tH= = =a
Ghee oO
Pees
 ( 481)

CHINESE PICTORIAL ART.

eens

Cua has hitherto engrossed little of the attention of the busy

Western world, and even in the present day the majority of other-
wise well-informed Europeans merely regard the great Empire with
a languid curiosity that has its chief foundations in false impres-
sions concerning the character and history of the people. It is from
no fault of the Sinologist that the knowledge is not more widely
spread. He has spared no toil, even in the most arid regions of
research, and has brought to light an abundance of well-sifted fact
for those who care to take advantage of it; but unfortunately the
greater part of the product of his labour is too abstruse to interest
a large section of the public. The only field whose outcome is
likely to afford results that will command a wide appreciation is that
of art, but although much has here been successfully accomplished,
the richest corner still rests unexplored, for there yet remains, out-
side the treasures of keramic ware, jade, ivory, and metal work
which we have already learned to admire, a mine of wealth awaiting
the effort of those who possess the qualifications and opportunity
necessary for the investigation, and all lovers of the beautiful will
have reason to be grateful when the pictorial treasures of the Middle
Kingdom are brought within their ken.
The task of research has some difficulties, for the amount of
material has long been suffering progressive diminution under a
variety of destructive agencies, and the special faculty essential
for the detection of the precious relics may be wanting even
wnere all the other requisites for the undertaking are present;
but the time cannot be far distant when the attempt will be made.
In the meantime the writer offers as a first contribution to the
future store, a few fragments of knowledge gathered in Japan.
It must be premised that for the archeologists of Egypt, Assyria,
21
 482 CHINESE AND KOREAN PICTORIAL ART.

and Greece, the art products of China are not ancient. M. Julien
has already demonstrated the comparatively recent origin of the
higher developments of the Keramic industry ;* the oldest specimens
of Glyptic art that bear marks of the higher esthetic culture are
Buddhistic images,t the production of which is necessarily posterior
to the introduction of the religion from India in the reign of the
Emperor Ming Ti (a.p. 62); and as yet there is no evidence to
show that the Pictorial art which existed before the same event,
had emerged from its rudimentary stages.
The early history of Chinese Pictorial art is very obscure. Native
authors allude to it as one of “the six branches of calligraphy ”—
that which teaches “the forms of matter”—and thus refer its
origin to the legendary era; but no satisfactory record of the
name and achievements of any individual painter appears before
the third century a.p., nearly two hundred years after the im-
portation from India of the Buddhistic pictures and images, which
probably formed the starting-point for a new and ambitious phase
of a previously undeveloped art.
The first painter whose name has been found in history was Tsao
Fun-nine (S6-futsu-ko}), who served under the Emperor Sun Kiian °
in the third century a.v. He was noted for the delineation of
figures and dragons, and is said to have executed Buddhist pictures
for the temples which were then becoming rapidly multiplied. Two
marvellous legends are all that remain to celebrate his genius.
One of these repeats the story, already familiar to European ears, of
a painted fly so skilfully introduced into a picture, that: the critic
(in this case an Emperor) raised his hand to brush the supposed
insect from the paper:—the other fable, one of the first amongst a
multitude of similar myths, relates how the display of a dragon§
delineated some centuries before by the same artist, caused the

* M. Julien places the invention of porcelain between the years 185 B.c. and
«87 a.p. It is probable however that no specimens in accordance with modern
European standards of beauty were produced before the Yuen dynasty.
t The so-called “ancient vases of the Shang Dynasty,” (1766 to 1122 B.c.) possess
considerable beauty of shape, but are essentially barbaric in design, and offer no
indication of study of natural forms, The dates assigned to them are moreover
open to suspicion.
了 The name placed within brackets after the Chinese name is that by which the
artist is known in Japan.
§ The dragon is helieved to be the dominant spirit of the waters and to pervade
the storm-clond.
 CHINESE PICTORIAL ART. 483

clouds to gather in the sky and the rain to fall upon the earth in
time to avert impending famine.
The next artist, concerning whom any precise information is
attainable, was OHANG SANG-YIU (Ché-sd-yu), who lived about the
middle of the sixth century, and was engaged by the devout monarch
Wu Ti as a painter of Buddhist pictures. It is uncertain whether
any of his works are now in existence, but his name is frequently
referred to as that of a master whose style was imitated by many
later celebrities. Like every great artist in China and Japan, he
has given employment to the ingenuity of fable-mongers. They
tell us that he once delineated a wondrous dragon. No sooner was
the picture completed by touching in the eyes than a black cloud
- guddenly arose from the paper, and filling the chamber, sent forth
peals of thunder. In the midst of the elemental strife the monstrous
creation of the pencil became instinct with life, and bursting through
the walls vanished into the sky.*
The principal artists of the seventh century were Yen LI-TEH (En-
riu-toku); his younger brother, Yew LI-PUN (En-riu-hon), who is
chiefly remembered by a series of portrait studies of historical
paragons of learning and loyalty ; and OHANG Yuu (Ché-setsu), who
lived a little later than these, and though greatly esteemed as a
painter, is better known as the Minister of State to the Emperor
Hiian Tsung. He died a.p. 730, at the age of sixty-three.
Several famous painters left their mark on the history of the
eighth century. The greatest of these was Wu Tao-rsz’ (Go Doshi),
after whom came two lesser luminaries—Wane Wet (O-i), and Han
Kan (Kan-kan).
WU Tao-tsz’ was engaged as a court artist by the Emperor
Ming Hwang (Td no Genso). It was only after a long struggle
against poverty, and a failure to attain proficiency as a calligraphist,
that he turned his attention to painting, to win in that calling a
celebrity scarcely paralleled before or since.
In style, he followed the masterpieces of Cuane Sane-yiu, with
whom he was declared to be identified by metempsychosis. He was
especially famous as a designer of Buddhist pictures, and his por-

* Such stories, strained as they are in conception and hackneyed by repetition

are perhaps worthy of notice, partly as a mark of the esteem in which certain artists
were held, and partly to indicate the existence of an ideal of realism in art which
the painter rarely attempted to attain in practice.
212
484 CHINESE AND KOREAN PICTORIAL ART.

traitures of Kwanyin and certain other divinities are still regarded

as the models for priestly artists; his landscapes were of ex-
traordinary vigour, and full of picturesque beauty; and his de-
lineations of animals are said to have been life-like to an illusive
degree.
His works are now chiefly known by copies, some of which
are marked by a force and unconyentionality rarely seen in the
paintings of later artists; but the specimens are insufficient to
allow a fair judgment of his capabilities. An original altar-piece,
representing the Nirvéna of Sakyamuni, is preserved at the temple
of Manjuji, in Kioto, and some landscapes and Buddhist figures have
been engraved in various Japanese albums. The former work, in —
dignity of composition, and in the extraordinary truth of expres-
sion and action marking the figures of the weeping divinities
and disciples, manifests a genius possessed by few of the Buddhistie
artists of later centuries, who have indeed been content to copy the
design of the T’ana master with a fidelity that speaks volumes as
to their estimation of the original.
The myths by which his admirers have sought to embellish his
renown are very curious, though now somewhat weakened by frequent
repetition and imitation. One writer thus recites his praise: “It is
told that an ancient artist painted a picture of a woman, and when
the representation was pierced in the region of the heart it shrieked
aloud—Wuv Tao-rsz’ sketched a mule for the decoration of a temple
hall, and every night the priests were disturbed by the sound of
neighing and trampling. OHANG SANG-YIU painted a dragon which
came to life and ascended to the clouds—Wu Tao-rsz’ also limned
a dragon which seemed to move before the spectator, and when a
storm approached, the clouds gathered around the picture.”* The
legend, which celebrates the disappearance of the artist from the
worldly stage, has a strong Taoist flavour. “In the palace of
Ming Hwang, the walls were of great size, and upon one of these
the Emperor ordered Wu Tao-rsz’ to paint a landscape. The artist
prepared his materials, and concealing the wall with curtains com-
menced his work. After a little while he drew aside the veil, and
there lay a glorious scene, with mountains, forests, clouds, men,
birds, and all things as in nature. While the Emperor gazed upon

* In some accounts the dragon story is identical with that related of CHANG
SANG-YIU.
 CHINESE PICTORIAL ART. 485

it with admiration, Wu Tao-tsz’, pointing to a certain part of the

picture, said, ‘ Behold this temple grot at the foot of the mountain
—within it dwells a spirit.’ Then clapping his hands, the gate
of the cave suddenly opened. ‘The interior is beautiful beyond
conception,’ continued the artist, ‘permit me to show the way, that
your Majesty may behold the marvels it contains.’ He passed
within, turning round to beckon his patron to follow, but in a
moment the gateway closed, and before the amazed monarch could
advance a step, the whole scene faded away, leaving the wall white
as before the contact of the painter’s brush. And Wu Tao-rsz’ was
never seen again.”
Wane Wet (0-1) was a famous landscape painter, who held high
rank at court in the period K’ai Yiian (713-742).
Han Kan (Kan-kan), a protégé of the last, was introduced by him
to the notice of the government. It is said that when commanded
by the Emperor to study under a noted painter of horses, he
declined, with the excuse that “he had already a teacher in the
steeds of the Imperial stable.”
Other names of painters in the T’ana dynasty (ending A.D. 907),
are Li Tsren (Ri-zen), the most celebrated artist of his period for
figures and horses, who left a son, Lr Cuune-no (Ri-chiu-wa), also
reputed for his skill in the same subjects; Yuen YING (Gen-yei),
a clever painter of bees and butterflies; K1ana TAo-YIN (Kid-dé-in),
a landscape painter; and Li Cuuna (Ri-sei), whose fame rested
principally upon his landscapes.
The names of great artists of the Suna dynasty (A.D. 960-1206)
have reached us in considerable numbers: the principal of these
are subjoined :一

Kwon Hr (Kwakki), noted for landscape painting after the

manner of Li CxEnG, flourished in the period Kar Pao (968-976).
His works are frequently copied by the Japanese. See No. 160.
I Yuen-xru (I-gen-kitsu), a famous painter of flowers and animals.
The monkey was also one of his favourite subjects.
Su Suz, or Tune-ro (Sd-sha or Toba), a famous statesman and
poet, As a painter, he is best known for sketches of the bamboo.
See No. 160, and Jap. 2856.
Cuao LIrNe-rTANG (Ché-rei-jd), noted for landscapes, particularly
snow scenes, and for bamboos in the style of Su Sue.
 486 CHINESE AND KOREAN PICTORIAL ART.

CHAO CHANG (Ché-sho), noted for painting of fruit, grasses, and

insects. Twelfth century.
CHAO TSrEN-LI (Ché-sen-ri), a favourite of the Emperor Kao Tsung
(1127 to 1163). Painted all subjects, but was most skilful in
figure drawings.
LI Tana (Ri-td), also a favourite of Kao Tsung. Noted for
paintings of landscape and figures, and for drawings of oxen;
flourished in the period Kien Yen (1127-1131).
LI Tin (Ri-téki), a contemporary of the last. Painted birds,
flowers, bamboos, rocks, and landscapes.
Hwet Tsuna (Kisd Kotei), an emperor of the Sung dynasty.
Reigned 1101 to 1126. He was gifted with a remarkable talent for
the delineation of flowers and birds. Two of his pictures are en-
graved in the Wa-kan met-gwa yen.
LIANG Cur (Rid-kai), noted for portraits of sages.
Wana Ts'vEn (O-sen), noted for pictures of landscapes and birds.
See Nos. 4 and 5.
It LUNG-YEN (Ri-riu-min, or Ri-ko-rin). The most celebrated
artist of the Suna dynasty. He is said to have equalled Han Kan as
a painter of horses, and Wu Tao-rsz’ in Buddhist pictures; and to
have excelled in landscapes and figures. His original drawings were
executed in monochrome, upon paper, but he used silk and colours
When copying ancient works. The Nirvana in the collection is
probably a copy from an older painting. See No. 1.
Mao Yru (M6-yéki), noted for painting of birds and flowers, and for
small landscapes. Flourished in the period Kien Tao (1165 to 1174).
LI NGAN-CHUNG (Ri-an-chiu). Twelfth century. Noted for flowers
and birds.
Ma Ytrn (Ba-yen), one of the greatest masters of the twelfth
century. Noted for landscapes, figures, flowers, and birds. He is one
of the three painters (Ma Yten, H1a Kwet, and Naan Hwvz1) whose
style Japanese artists were most fond of imitating. See No. 156.
Ma Tan (Ba-tatsu), the younger brother of the last. Less
known than Ma Ytrn.
Hira Kwer (Ka-kei), one of the most famous painters in the Suna
dynasty. 了 lourished in the reign of Ning Tsung (1195-1225),
See No. 160. |
—Mun_Ki (Mokkei), one of the leading artists of the dynasty.
His favourite subjects were dragons, tigers, monkeys, storks, and
 CHINESE PICTORIAL ART. 487

wild ducks; but he also painted figures and landscapes. See Nos. 9
and 10, and 161-2.
Hwur Su (Kei-so), celebrated for drawings of birds; lived in the
twelfth century. See No. 3.
Li Ju (Ri-su), at first a wood-carver, he subsequently became a
painter, and was especially renowned for portraits of priests. He
flourished in the early part of the thirteenth century, during the
reigns of Kwang Tsung and Li Tsung (1190-1265).
Cuao Tsz’-How (Ché-shi-ko), noted for pictures of mountain and
forest scenery.
Cuao Yune, or Couna Muu (Cho-yé, or Chiu-boku), chiefly noted
as a painter of landscapes. See No. 12.
Yuu Kren (Giokkan), a famous artist of the Sung dynasty, who
had many followers in Japan. _ Pe Chirine Mtoe
MI YUEN Cuang (Bei-gen-sh5). Noted as a calligraphist and as Du Fe 大

a painter of figures and landscapes. His son, Mr Yrs-sun (Bei-yu-

jin), was also an artist of reputation.
Nean Hwot (Gan-ki) lived in the early part of the 13th century,
and belongs to both the Sune and Yuen dynasties. He was the last
of the great masters, and is placed with Ma Ytun and HIA Kwer, to
form an artistic trinity referred to by Japanese painters under the
compound title of BA-KA-GAN (Ma-Hia-Ngan). His pictures were
mostly painted in monochrome upon silk, See Nos. 6 and 7, and
2856 Jap.

The list of the artists of the Ytrn, Mine, and TsING dynasties
is of great length. In the Gen-min-sei roku, in which are enume-
rated the chief painters of these dynasties, some four thousand names
are recorded. A few of these are selected as those of the masters
with whose works the Japanese were most familiar.

Yiien dynasty :一
Ma Lan (Ba-rin), son of Ma Yuen of the Sung dynasty.
Ma LIANG (Ba-rid), son of Ma Yurn. See No. 70.
CHAo Muna-ru (Ché-su-go).
Noted as a painter of horses; lived 1254 to 1322. See
No. 159, and 2856 Jap.
Cao TAN-LIN (Ch6-tan-rin).
Noted for tigers, birds, &c. See No. 11.
 488 CHINESE AND KOREAN PICTORIAL ART.

Ming dynasty :一
Wane OHING-MING (Bun-ché-mei) ; lived 1522 to 1567.
Noted for landscapes and calligraphy.
Wane LIEH-PUN (0-riu-hon).
Noted for flowers and landscapes. See No. 24.
SI-KIN 及 U-TSZE (Sei-kin-ko-ji).
Noted for portraits. See No. 37.
工 SzE Cuune-cuao (Ka-chiu-sh6).
Noted for flowers. See No. 65.
人 TU-YING (Kiu-yei).
Noted for landscapes and figures. See Nos. 22, 23, 97, and
162, and 2856 Jap.
Sren-sHE SzE-CHUNG (Sha-ji-shin).
Noted for landscapes and figures; flourished 1522 to 1567.
See No. 79a.
Crane Kr (Ché-ki) ; flourished 1488 to 1506.
Noted for female figures. See Nos. 14 and 169.
Wan OHIN (Bun-shin).
Noted for figures and birds. See Nos. 20 and 21.
LU Kz (Rid-ki); flourished ec. 1490.
Noted for birds and flowers. See Nos. 29 et seg.
CHIU CHI-MIEN (Shiu-shi-ben).
Noted for birds and flowers. See Nos. 17 to 19.
SHUN Kv (Shun-kio),
Noted for birds and flowers. See Nos. 160 and 168, and 226 Tap.
Liv Tsun (Riu-shun) ; flourished 1465 to 1488.”
Noted for figures. See No. 96.
Lin Liane (Rin-rid) ; flourished 1457 to 1465.
Noted for birds and flowers. See Nos. 26-7.
Pren RING-oHAO (Hen-kei-sh) ; flourished 1403 to 1425.
Noted for birds and flowers. See No. 155.
Yurx OHAO (Gesshiii).
Noted for birds and flowers. See Nos. 88-9.
‘The styles of art practised in China have been classified in various
ways :一 -
Ist. According to period.
That of the TANG and Epoch of the Five Dynasties (a.p. 618-
960).
 CHINESE PICTORIAL ART. 489

That of the Sune dynasty (960 to 1206).

9 the Yin and early Mine dynasties(1206 toabout 1450).
bP) the later Mine dynasty (1450 to 1628).
93 the TsING dynasty (from 1628).

2nd. By subdivision into the schools of the North and South.

The ancient pictorial art of China created by the native
masters of the T’ang and perhaps of earlier dynasties, and
emulated by the greatest painters of Japan, found a rival
in a mannerism invented by the caprice of influential
amateurs, and nourished by their admirers. The new
school, which became known as that of the South, appeared
as early as the Sung dynasty. Its leaders were for the
most part eminent scholars and men of rank, who found it
possible to secure artistic fame without the genius and
. labour that had enabled their predecessors to establish a
national art. The roughest sketch of flower or bird or
landscape, provided that it bore the mark of a well-known
name, gained an admiration proportionate to the reputa-
tion of its producer rather than to the artistic merit of
the execution ; and although such pictures often displayed
much calligraphic power, and even pictorial suggestiveness,
the ideal was immeasurably inferior to that set up by the
artists of the older or Northern school.
The style of the North maintained its pre-eminence through-
out the Sung and Yuen dynasties; but with the Ming
period commenced a steady and progressive decadence,
which allowed the Southern school to wax stronger in
public estimation, until at last the country that had given
birth to men of such mould as Wu Tao-tsz’, Muu-x1, Naan
Hwut, and a score of others, became represented by an art
which is justly despised by the rest of the world.
The evil influence of the Southern school was first felt in
Japan in the middle of the last century, under the teaching
of a few political refugees from China, of whom Ifukiu was
the chief. Its adoption, however, did not extend widely until
the beginning of the present century, when the affectation
of the facile pseudo-art aided the Naturalistic and Popular
schools in destroying the last traces of the older schools.
490 CHINESE AND KOREAN PICTORIAL ART.

3rd. According to mode of outline.

The style corresponding to the square or formal character
(Chieh shu).
The cursive style, corresponding to the “grass” characters
(Ts’ao shu).
The intermediate style, corresponding to the characters
between the two former (Hsing shu).
A “fine” and “coarse” style were also recognised. It was
the former which was chiefly followed by the artists of the
Yamato school in Japan, while the Kano pictures were
nearly always executed in the bolder manner.
4th. According to mode of colouring.
Monochromes.
Thinly coloured paintings.
Medium-coloured painting.
Highly coloured paintings,
The first classification, that of period, is the most difficult to
follow, as the tendency of the Chinese to worship the carefully
treasured pictures of the old masters led to constant reversions
of manner. As a generalization, it may be said that the best
non-Buddhistic pictorial art of the T’anc, Sune, and Ytrn dynasties,
represented by the paintings of Wu Tao-rsz’, Mum Ki, and Naan
Hwu1, were characterized by simplicity of style, subordination
of colour, remarkable calligraphic power in the manipulation of
the pencil, and a comparative freedom from conventionality of
treatment. The later Mine artists, as represented by OHANG Ki and
K’1u-yne, adopted a more decorative manner of painting, in which
force and freedom of outline were subordinate to beauty of colouring;
but not a few of their contemporaries and successors maintained the
more classical style. In the present dynasty no new or distinctive
manner has been initiated, except that of the trash executed for
the foreign market and mistaken by its Western patrons for typical
Chinese art,
The grouping, according to mode of outline, is incomplete, as
it bears no reference -to colour. The most formal and elaborate
pictures belong to the square character style; the free rapid out-
line which was afterwards carried to an extreme in Japan (as in the
sketches of SzssHIU and Kano Tanyv) is that of the cursive hand.
 CHINESE PICTORIAL ART. 491

Lastly, the arrangement according to mode of colouring may be

used to supplement the deficiencies of the preceding classification.
Monochrome drawings in black, or more rarely in red or other
colours, were amongst the best works of the most ancient masters.
The “ thin-colouring,” in which pale and flat but highly effective
washes of pigment are added, was practised by nearly all the mono-
chrome artists. The “ highly-coloured picture” is best exemplified
in the Buddhist altar-pieces and less favourably in the secular
works of the Mina painters, which were imitated in Japan by Riv-
RIKIO and some of the modern representatives of the Kano school.
Finally, the pictures characterized by moderate use of colour, the Chia
zaishike of the Japanese, were common to the Sune and later periods.
The Buddhist art of China appears to have differed little from its
Japanese descendant. There is, however, much reason to believe that
the earliest works of the T’ana dynasty had derived through India cer-
tain elements of Greek art, which were completely lost in later times.

The main features of Chinese art may be summed up as follows :—

1, Drawing calligraphic; beauty of outline and decision of touch
being of more importance than scientific observation of form. The
sacrifice of the latter element is more marked in pictures of the
middle period than in the older works, while both are often lost in
the more recent productions of the country. The defect of drawing
is, as a rule, most obvious in the rendering of female faces in general,
and profiles in particular, and is least marked in birds and other
animals whose anatomical forms present the least complexity. The
proportions of both men and animals are usually good, and action is
forcibly and truthfully suggested.
An exceptionally realistic art, however, occasionally appeared in
portraiture, and in the works of at least two artists, Cuin CHUNG-
FUH and SI-KIN Kt-rszn, offered examples of great academical truth
and power. (See Nos. 13 and 37.)
2. Perspective isometrical. A few works of the pure Chinese
school and some Buddhist pictures suggest a rudimentary idea of linear
perspective by showing the convergence towards a vanishing point
of lines that are parallel in nature, but the point is wrongly placed,
and in other respects the rendering of distance indicates a lack of
intelligent observation.
3. Chiaroscuro sometimes absent, sometimes represented by a kind
492 CHINESE AND KOREAN PICTORIAL ART.

of shading that serves to throw adjacent parts into prominence, with-

out indicating any study of the true appearances. Projected shadows
always omitted. Reflections, whether of form, light, or colour,
always ignored, unless the repetition of an image upon the surface
of a mirror or lake be required by the exigencies of the story.
4, Colouring almost invariably harmonious, but often arbitrary,
and either flat, or presenting delicate gradations, which compensate
in some degree for the absence of chiaroscuro.
5. Composition good. Appreciation of the picturesque remarkably
evidenced in landscape.
6. Sense of humour less strongly displayed than in the pictures
of the Japanese, but the other intellectual qualities of the artist are
well marked. The inventive capacity of the Japanese popular artists
of the last hundred years appears to be greater than that manifested
by their Chinese brethren, but it is impossible to be certain upon this
point until more extensive opportunities are afforded for the study of
the art of the Middle Kingdom.
7. Applications of pictorial art, as in wood- decoration
of pottery and lacquer, embroidery, &c., as a rule, far less intelligent,
skilful and varied than in Japan.

The magnitude of the debt in pictorial art that Japan owes to its
neighbour will be understood by a comparison of the works of the
two countries, in fairly representative collections, and even in woodcut
copies, such as those in the Wa-kan mei-gwa yen and other books
of the same kind.* This obligation the Japanese has never failed
to acknowledge with candour and generosity. ‘Our painting,” says
a Japanese writer of the last century, “is the flower, that of China
is the fruit in its maturity.” KEuropeans, however, who compare the
works of the Naturalistic and Popular schools of Japan with the
contemporary art of the Middle Kingdom may not be inclined to
agree with this modest self-depreciation, for while Chinese pictorial
art has been drifting into evil ways, the Japanese have created for
themselves an individuality, both in motives and treatment, that
has altogether reversed the former relations of the two countries.
Chinese artists, like the Japanese, painted both on paper and silk,
and the Japanese method of mounting pictures as kakémonos and
rolls, is of Chinese origin.
* See bibliographical list appended to preface.
 ( 493)

KOREAN ART.
—=

Lirrie can be said with reference to Korean art; partly on account

of its close resemblance to the art of China, and partly because of
the difficulty in obtaining access to authentic historical facts, and
of procuring a sufficient number of representative specimens. It is,
however, placed beyond doubt that Korean art in general could
claim in ancient times a far higher position than that to which it
is now entitled.
The early painters in Japan, before the time of Kanaoxa, were
mostly Korean immigrants, and were treated with marked respect
by the Japanese. The Nara wood-carvings of the Déva Temple-
guardians, attributed to a Korean of the seventh century, are worthy
of a sculptor of ancient Greece ; the casting of some of the greatest
Buddhist bronzes was effected under the superintendence of Korean
workmen ; brocade weaving was learned in the fifth century from a
native of Korea; while in Keramics, the Korean ivory white glaze,
and the well-known grey and white ware, were reproduced in the
old Satsuma and Yatsushiro pottery, and the Raku yaki of the
Korean Amiya and his descendants provided esthetic feasts for
the connoisseurs of the last three centuries. Hidéyoshi’s invasion
of the country, at the end of the sixteenth century, unfortunately
appears to have led to a rapid decline in the Korean arts; and the
recent experience of those Japanese who have effected an entrance
into the hitherto jealously secluded kingdom, points to a state of
poverty and ignorance that must form a painful contrast with its
former dignity, in the days when Korea was the teacher and Japan
the pupil. It is worthy of remark that the drawings made by the
artist who accompanied the Korean Ambassador to Japan in 1878
(Nos, 224-6) are identical in manner with those of the old Chinese
494 CHINESE AND KOREAN PICTORIAL ART.

painters ; while a portrait (No. 227) executed in Korea within the

last few years is characterised by an attempt at light and shade
that indicates a certain acquaintance with European practice.
As a precautionary hint, it may be mentioned that the so-called
“Korean pottery” now sold in London is a very modern Japanese
ware of indifferent quality, and is entirely unlike any known
keramic produce of Korea.

The Kun in Hoshé, a collection of the seals of painters and calli-

graphists, enumerates many Korean artists, including one of the
kings of the country, but the names would be of too little service
to the foreign investigator to justify their reproduction here.
 ( 495)

I. CHINESE PICTURES.
一 一 一人 一 一一一

1, Kakémono, on silk, painted in colours. Size, 763 x 57.

The Nirvana of S’Akyamuni.
The details of the subject correspond closely to those of the
Japanese-Buddhist pictures Nos. 7 and 8, and do not differ in any
important respect from those of the earlier work of Wu 工 Ao-TSZ ，
preserved in the temple of Manjuji at Kidto (see “ Pictorial Arts
of Japan”).
Painted by Li LUNG-YEN (Jap. RI-RIU-MIN)，
Eleventh century.
2. Kakémono, on silk, painted in colours. Size, 484 x 25.
White falcon.
Drawn in a simple but masterly style. The feathers are touched
at their extremities and along the central stem with white, and
stand out boldly from the dark-brown ground of the silk.
This picture is attributed to the Emperor Hwx1 Tsuna
(Jap. Kiso Korver), but bears no seal. Beginning of
twelfth century.
3. Kakémono, on silk, painted in monochrome. Size, 49} x 254.
Wild geese in the rushes.
The simple, freehanded style of the drawing is that which was
most favoured by the great masters of the Sung and Yiien dynasties,
and was imitated closely by the Japanese schools of the renaissance.
There is a prevalent but erroneous impression in Europe that this
manner is characteristic of Japanese art.
Painted by Hwur Su (Jap. Krr-s0). Twelfth century.
4and5. A pair of kakémonos, on silk, painted in colours. Size,
263 x 12.
Fowls and peonies.
The manner is very similar to that followed by the Kano school
in its middle period.
Painted by Wana Tsuen (Jap. O-sen). Seal. Sung
dynasty.
496 CHINESE AND KOREAN PICTORIAL ART.

Kakémono, on silk, painted in monochrome. Size, 57 x 32%.

Three Rishis, Li T’ieh-kw’ai (Jap. Ri Texxar), Han
Chung-li (Jap. SHEO-RI-KEN)，and Lii Tung-pin (Jap. RIO-
TO-HIN). See No. 1358.
Three men, of wild but striking aspect, are seated conversing in
a mountain haunt. The background is formed by the rugged
fissured walls of a rocky cavern, from a chink in which jets a silvery
stream to form a winding rivulet upon the crag-strewn floor. The
fantastic limbs of an aged pine and wild plum, the emblems of
longevity, fitly complete the scene.
The drawing of the figures is rather calligraphic than natural-
istic, but the attitudes and expressions are vigorously portrayed.
The profile of 工 Tung-pin conventional and incorrect.
Painted by Naan Hwui (Jap. Gan-x1). No name or seal.
Two certificates of authenticity accompany the picture, one
by Kano Yeishin, the other by Kano Korénobu. Thirteenth
century.

Kakémono, on silk, painted in monochrome. Size, 445 x 17}.

Li T’ieh Kwai. (See No. 1348.)
The Rishi appears in the usual form as a ragged half-naked man
leaning upon a crutch. The face is turned upwards, and from the
mouth issues a vapour which ascends bearing the spiritual counter-
part in its flight towards the Sacred Mount of the Immortals. The
leafy girdle that ekes out the tattered dress is one of the attributes
of the Taoist Genii.

Painted by Naan Hwur. Seal. Thirteenth century.

Kakémono, on silk, painted in colours. Size, 253 x 162.

A Boy-Rishi.
A childish figure riding upon a goat and carrying suspended from
a branch of a plum-tree a cage containing a blackbird. A number
of kids are gambolling around him.

Painter unknown. ‘The picture is attributed to Han Kan

(Jap. Kanxan) of the T’ang dynasty, but bears neither name
nor seal. It has been retouched in Japan.
The personage represented is probably Hoh Yiu (Jap. Katsuyu), a
Taoist Rishi, whose portrait appears in the Ressen zen Den, and is fre-
quently introduced in Japanese pictures as a sage clad in a long cloak
and riding upon a goat.
 CHINESE PICTURES. 497

9 and 10. A pair of kakémonos, on silk, painted in monochrome.

Size 451 x 207.
Eagles.
Vigorously sketched in the style of the Sung dynasty.
Attributed to Mun Ki (MoFgEI). No name or seal.
Eleventh century.
These pictures originally formed part ofa set of three, but the central
painting, a representation of Kwanyin, is in the possession of a native
collector.

11. Kakémono, on silk, painted in colours. Size, 57} x 33.

Tiger and cubs. ‘
Bold but conventional in drawing, hair minutely painted. One
of the cubs has the spots of a leopard. Compare with No. 2702 by
GANKU, who was an imitator of this artist.
_ Painted by CHAO TAN-LIN (Jap. Cud-ran-rin). Seal. Cer-
tificate by Kano Hogen Yeishin. Thirteenth century.
12. Kakémono, on silk, painted in monochrome. Size, 162 x 163.
Chinese sage.
Painted by CHAO Cuune-mun (Jap. CHO-OHIU-BOKU)。 Seal
partially obliterated. Fourteenth dynasty.
13. Kakémono, on silk, painted in colours. Size, 47% x 78
Portraits of a sage and attendant.
A remarkable specimen of the art of the Ming dynasty. The
faces of the two figures are evidently drawn from nature, the traits
are rendered tee great truth and delicacy, and sufficient chiar-
oscuro is introduced to reproduce the moulding of the features. The
dresses and scenery are painted in accordance with the ordinary
Chinese practice. Compare with No. 40.
A long inscription in seal characters is written at the head of
the picture.
Painted by Cufin Cnune-run (CHIN Curu-ruxu). No name
or seal, Certificate by Kano Hégen Yeishin. The picture is
also accompanied by an eulogium of the painter, who is said
to have drawn the portrait of the Emperor. Ming dynasty;
~
probably fifteenth century.
14. Kakémono, on silk, painted in colours. Size, 40 x 193.
Portrait of a Chinese lady.
The drawing is free and graceful, but very conventional; colouring
soft and harmonious.
Painted by OHANG-KI (Jap. Cuo-n1). Seal. Certificate of
2k
498 CHINESE AND KOREAN PICTORIAL ART.

authenticity by Kano Hogen Yeishin, End of fifteenth

century.

15 and 16. A pair of kakémonog, on silk, painted in colours. Size

523 x 241.
Cranes. ;
These pictures are very fine specimens of the work of the early
Chinese school, and appear to have been the models from which
many of the crane designs of the Japanese artists were copied.
They have been engraved in the Gwa-ko Sen-ran.
Signed SIANG Lana-nar. Seal. Sung dynasty.
17. Kakémono, on silk, painted in colours. Size, 584 x 273.
Birds and flowers.
The drawing of the wild geese, roses, &c., is very inferior to that
of the works of the Sung artists.
Painted by CHIU CHI-MIEN. Seal. Dated 1578.
18. Kakémono, on silk, painted in colours. Size, 554 x 163.
Birds and flowers.
Quails, bamboo and convolvulus. Weak in drawing.
Painted by CHIU Cut-mren. Seals. Sixteenth century.
19. Kakémono, on silk, painted in colours. Size, 362 x 14.
Birds and flowers.
Painted by CHIU Cut-mren. Seals. Sixteenth century.
20. Kakémono, on silk, painted in colours. Size, 491.x 293.
Chinese Sages .
Three men in the dress of scholars, reading and writing, in a
small enclosed garden ; two visitors are approaching on horseback,
attended by a servant with a fan. Amongst the accessories may be
noticed a pair of tame cranes.
The drawing is conventional, and the colouring is in the some-
what heavy style favoured in the Ming dynasty. Compare with
No. 38.
Painted by Wan Cun (Jap. BuN-SHIN)， No name or seal.
Ming dynasty.

PAR Kakémons, on silk, painted in colours. Size, 12) x 16}.

Crow and loquat tree.
Attributed to Wan Cun. No name or seal. Ming
dynasty.
 CHINESE PICTURES. 499

22 and 23. Pair of kakémonos, on silk, painted in colours.

Size, 50} x 21f.
Landscapes with figures.
The pictures are entitled “ Plum-flower revelry,” and represent
a party of learned men repairing to the house of a friend to cele-
brate by festivity and intellectual amusements the flowering of the
plum-trees in early spring. The introduction of the moon in one
of the rolls indicates that the “ revelry ” is nocturnal, but in all other
respects the painting is indistinguishable from that of a daylight
scene.
Painted by K’1u-yine (Jap. Kiv-yver). Seal. Ming dynasty
(fifteenth century ?).

24. Kakémono, on silk, painted in monochrome. Size, 361 X 15$.

Landscape. Mountain and valley scenery.
The horizontal line rises nearly to the top of the picture, but a
small building in the foreground shows an attempt at perspective,
its outlines converging towards a vanishing point, which, however,
fails far below the horizon. These half-hearted endeavours to
realise visual impressions are not very rare in the pictures 0
Chinese artists.
Painted by Wane Lizn-pun (Jap. O-r1v-Hon). Certificate
by Kano Yeishin. Ming dynasty.

25. Kakémono, on silk, painted in colours. Size, 133 ~ 232.

Bird and flowers.
Painted by Kiana Li-x’an (Jap. 下 IO-RITSU-KO)- Seal.
Ming dynasty.

26 and 27. A pair of kakémonos, on silk, painted on monochrome.

Size, 543 x 314.
Wild geese, lotuses, and rushes.
Paintedin the style of the Sung dynasty. The drawing re-
sembles that of Lii Kr (Rrdxr) (Nos. 27 and 28), but has even
greater spirit and freedom of touch. Compare with No. 3.
Painted by LIN Liana (Jap. RIN-RIO). Sixteenth century.

28. Kakémono, on silk, painted in colours. Size, 422 X 153.

Wild geese and other birds, with rushes and peonies.
Attributed to Lrv Cur (Jap. Rrxv-s1). No name or seal,
Ming dynasty.
2K 2
500 CHINESE AND KOREAN PICTORIAL ART.

29 and 30. A pair of kakémonos, on silk. painted in colours. Size,

774 -X 403.
1. Pheasants and other birds, with plum-tree.
2. Ducks and various small birds, with willow and
plum-trees.
Painted by Lt Kr (Jap. R10-x1), of the Ming dynasty.
Signed Li Kr. Seal. End of sixteenth century.
31. Kakémono, on silk, painted in colours. Size, 543 x 281.
Egrets, martins, &c., with willow and lilies.
Attributed to Li Ky. No name or seal. Sixteenth
century. :
The assoc‘ation of the martin and willow, and that of the egret and lily
are frequently met with in both Chinese and Japanese pictures.

32. Kakémono, on silk, painted in monochrome. Size, 37% x 18}.

Kite and pine-tree.
Attributed to Li Kr. No name or geal. Certificate. Six-
teenth century. |
32a. Kakémono, on silk, painted in colours. Size, 433 x 23%.
Kite and pine-tree.
Painted by Lu Kr. Signed Tsz’-mina Lij-K1 (Jap. Sar-mer
Rrdx1). Seals. Sixteenth century.
33. Kakémono, on silk, painted in colours. Size, 437 x 235.
Crows quarreling.
Painted by Lt Ki. Signed TSz -MING Lii-Kr. Seal. Dated
Wan Leih (1573-1620).

34. Kakémono, on silk, painted in colours. Size, 532 x 291.

Magpies and bamboos.
Painted by Lt Ki. Signed. Seal. Sixteenth century.
35 and 36. A pair of kakémonos, on silk, painted in colcurs.
Size 384 x 184.
Insects and flowers.
Painted by Kiana Pin-cnun (Jap. Ko-naxv-sen). No seal
or name. Certificate. Ming dynasty.
37. Kakémono, on paper, painted in colours. Size 534 x 514.
Philosopher and disciples.
The principal figure is that of a man past the prime of life, seated
 CHINESE PICTURES. 501

in a large chair and holding in his hand a palm-leaf fan. On the

right is a boy carrying a tray upon which are some lacquered
cups with golden spoons; towards the left stand two men, probably
disciples, in respectful attitudes, and against these a boy with a
case of books. A very small white horse is tied to a lacquered post
in the foreground near the middle of the picture. The principal
accessories are a tortoise, a stag, a crane, and a pine-tree, all of
which are emblematic of longevity. A large screen appears behind
the philosopher’s seat.
The dresses resemble those of Korea rather than of China.
The execution of the painting is very noteworthy. The faces of
the three principal figures are drawn with a feeling and a truth of
detail worthy of Holbein. The outlines are delicately and firmly
sketched, and the shadows, tenderly but correctly indicated, convey
a remarkable impression of the modelling of the features. There is a
perfect expressiveness and individuality in each head; and the Mon-
golian traits, especially in the younger disciple, are shown with the
utmost fidelity. The whole of the rest of the picture is unfinished,
but the ‘accurately studied heads are apparently the only parts
which have been taken directly from nature. The animals are
conventional and the perspective is isometric.
The accompanying certificate gives as the subject “A Chinese
Emperor,” but the dresses and accessories are not in accordance with
this description.

Painted by Sr-KIN Kt-rsze (Jap. Sxr-K1n-xK6-31). Ming

dynasty. (Fifteenth century ?)

38 and 39. A pair of kakémonos, on silk, painted in colours. Size,

574 x 303.

Birds and flowers. Summer and winter scenes.

‘In both pictures the principal objects are a pair of pheasants.

The style of execution closely resembles that of some of the
paintings of Li Ki, ‘he combination of snow and flowers in the
winter scene will appear strange to Huropean eyes, but in many
parts of China and Japan the comets and plum are in their glory
before the winter has begun to pass away.
Painted by Yurn OHAo (Jap. Gussurt). Signed. Seal.
Ming dynasty.

40. Kakémono, on silk, painted in colours. Size, 523? x 283,

Birds and flowers.
Painted by WANG YUEN- MING (Jap. O--GEN-MIN). Sealy.
Ming dynasty.
502 CHINESE AND KOREAN PICTORIAL ART.

41. Kakémono, on silk, painted in monochrome. Size, 39% x 2032.

Bamboos bent by the wind.
A spirited sketch in the graphic style, indistinguishable from the
bamboo drawings of the Japanese artist.
The picture is greatly damaged, but has been carefully remounted
in China,
Painted by TSm Nean-sun Szz-1 (SHIN-AN-KIN SHI-SHO)。
Signed. Seal. Ming dynasty.

42. Kakémono, on paper, painted in colours. Size, 442 x 193.

Tiger and dragon.
Painted by OHAN NAN-PTNG (Jap. Curn-nan-pin). Signed
NAN-PING Cu’an-sten (NAN-PIN OHIN-SEN)。 Seal. Middle
of eighteenth century.

43 and 44. A pair of kakémonos, on silk, painted in colours.

Size, 541 x 214.
1. Peacocks, pine, and peonies.
2. Cranes, peaches, bamboo, and fungi.
Painted by Cn’an Nan-p'nc. Seals. Eighteenth century.

45. Kakémono, on silk, painted in colours. Size, 153 x 193.

Birds and flowers.
Painted by CHAN NAN-PING in the style of the Yiien
dynasty. Signed. Seal. Eighteenth century.

46. Kakémono, on silk, painted in colours. Size, 392 « 134.

Dogs and peony.
The dogs, which are ill-drawn, appear to represent the pet
animal known to foreigners as the “ Chin.”
Painted by OCEAN Nan-p’inc. Signed. Seals. Eighteenth
century.

47. Kakémono, on silk, painted in colours. Size, 637 x 204.

Monkeys and loquat-tree,
The animals are cleverly drawn, but will not bear comparison
with the monkey pictures of SHIUHO and Sésen. (See Shijo School.)
Painted by Cu’an Nan-p’1na. Signed. Seal. Highteenth
century. |
 CHINESE PICTURES. 503

48. Kakdémono, on silk, painted in colours. Size, 483 X 213.

Egrets, martins, and willow.
Painted in Japan by KEINa-HU (Jap. Kryo-xo). Signed.
Seal. Early part of nineteenth century.
This picture was painted in Nagasaki.

49. Kakémono, on silk, painted in colours. Size, 44} x 17}.

Birds and flowers. ,
Painted in Japan by Line Yun (Jap. Rrd-un). Signed.
Seal. arly part of nineteenth century.

50. Kakémono, on paper, painted in monochrome. Size, 55} x 214.

Bamboos.
Graphic style.
Painted by Tsz Krao-tin (Jap. SHI-KIO-RIN). Signed.
Seal. Eighteenth century (°?).
51. Kakémono, on silk, painted in colours. Size, 183 x 121.
Landscape.
Painted by YIH-YUN Kao-xren (Jap. Icut-un Ko-xay).
Signed. Seal. Eighteenth century (?).

52. Kakémono, on paper, painted in colours. Size, 68? x 36.

Landscape. Mountain scenery, with figures of sages.
Painted by MIH-TSIAO Wu CHTIH-LIIT (Boxu-sHd GO-SHI-
rE). Signed. Seal. Cyclical year placed to the right
of the signature. Eighteenth century (?).

53. Kakémono, on silk, painted in colours. Size, 393} x 134.

Landscape. Mountain scenery.
A downpour of rain is bending the branches of the trees, and
half concealing the distant mountains.
Painted by Fane Cuane (Jap. Suo-cud). Signed. Seal.
Eighteenth century (?).

54, Kakémono, on silk, painted in colours. Size, 353 x 19.

Blind musicians quarreling.
A humorous picture, drawn in a style very similar to that of some
of the Japanese artists of the Kano school.
Painted by Siu Szz-yine (Jap. JO-SHI-YEI). Signed.
Seal. Dated second year of Tao Kwang (1822).
504 CHINESE AND KOREAN PICTORIAL ART.

55. Kakémono, on silk, painted in colours. Size, 383 x 15.

Hawk chasing an egret.
Artist unknown. No name or seal. Probably painted
about the middle of the Ming dynasty.

56. Kakémono, on silk, painted in colours. Size, 554 x 20.

Quails, sparrows, and millet.
Painted with a fine brush.
Artist unknown. No name or seal. Ming dynasty.
The association of the Quail and Millet, like that of the Cock and
Peony, ete., is commonly met with in both Chinese and Japanese pictures.

57. Kakémono, on silk, painted in colours. Size, 443 x 191.

Kwanyin.
The goddess is seated upon a rock. A dragon emerges from the
waves at her feet.
No name or seal. Ming dynasty.
The figure is probably that of ‘“ Kwanyin the Unsurpassable” (see
No. 60), with the addition of the dragon. It differs considerably from
the ordinary representation of the “ Dragon Kwanyin.”

58. Kakémono, on silk, painted in colours. Size, 463 x 233.

Rishi walking upon the waves.
The figure is that of a young man clad in a ragged dress. He
walks upon the waves playing a reed-instrument, and carries a
basket containing a roll and the fungi (ling-che) emblematic of
longevity.
Artist unknown. No signature or seal. Ming dynasty.

59. Kakémono, on silk, painted in colours, Size, 12} x 113.

Thrush. '
Artist unknown. No signature or seal. Ming dynasty.

60. Kakémono, on silk, painted in colours. Size, 302 x 141.

Kwanyin the Unsurpassable.
The goddess, attired in a simple flowing robe, her head surrounded
by a large nimbus, is seated upon a wave-beaten rock. A branch
of bamboo in a small vase stands by her side.
Compare with the pictures of Kano Tanyu and Kano TSUNENOBU。
(Nos. 1287 and 1304.)
Artist unknown, Mung dynasty.
 CHINESE PICTURES. 905

61. Kakémono, on silk, painted in colours. (From the Franks

Collection.) Size, 50% x 17}.
Archer and children.
Artist unknown. No signature or seal. Ming dynasty.
62. Kakémono, on silk, painted in colours. Size, 14 x 114.
Birds and flowers.
Painted by Fina Suzu (Jap. Ho-sersu). Signed. Seal.
Kighteenth century (?).
63. Kakémono, on silk, painted in monochrome. Size, 38% x 163.
Birds and plum-tree.
Painted, in Japan, by SI-YUEN Fina-tsz’ (Jap. Sai-yen
Ho6-sai). Signed. Seal. Highteenth century.
64. Kakémono, on paper, painted in monochrome. Size, 37} x 164.
Sparrows, bamboo, and plum-tree.
Painted by Tsru-TING YU-SUNG (Jap. RHIU-TEI Yo-sHo).
Signed. Seal. Highteenth century (?).
65. Kakémono, on silk, painted in monochrome. Size, 463 x 152.
Bamboos.
Compare with No. 58.
Painted by Tszz OHUNG CHAO (Jap. Ka-cutu-sud). No
name or seal. Certificate of authenticity by Kano Isen in
Hor, Ming dynasty.
66. Kakémono, on silk, painted in colours. (Presented to the
Collection by A. W. Franks, Esq., F.R.S.) Size, 543 x 193.
Hwang Ch’u-p’ing (Jap. 玉 0-SHO-HEI) turning stones
into sheep.
Painted by CHUNG Kwou-1sz’ (Jap. SESSEN CHIU-KOKU-SHI)。
Signed. Seal, Temp. nineteenth century.
Hwang Ch’u-p’ing (Jap. Koshdhei) was a Chinese shepherd who
retired with a Taoist priest to Mount Kin Hwa in the 4th century and
never returned, More than forty years after his disappearance, his
brother Ch’u-ki (Shoki) learned that he was tending sheep in the
mountains, and went thither to seck him. The two at length met with
great joy. After a time Ch’u-ki, perceiving no trace of the brother’s
flocks, asked their whereabouts, and Hwang Ch’u-ping, in reply, pointed to
a number of white stones scattered about the ground; then, laughing at
the perplexity of his companion, spoke to the apparently inanimate
objects and touched them with his stick, and they immcdiately became
changed into sheep. Ch’u-ki gave up his wife and children to folluw his
brother, and eventually shared with him the immortality of the genii
(Ressen zen den).
 ’

506 CHINESE AND KOREAN PICTORIAL ART.

67. Kakémono, on ‘silk, painted in colours. (From the Franks

Collection.) Size, 25-x 17.
Winter scene. “The parent stream of Leu Hai Shan
and the stream of Mih Shan.”
Sketched in ink and lightly tinted with colour. Touch
somewhat resembles that of the early artists of the Kano school.
Artist unknown. Two seals. Eighteenth century (?).
68. Kakémono, on silk, painted in colours. (From the Franks
Collection.) Size, 353 x 194.
“An inebriated woman” (P Si She).
A Chinese lady richly attired after the ancient manner, leaning
upon two girls, who bear the miniature canopies held over the heads
of personages of high rank. ‘T'wo other attendants carry Wine-
vessels and an incense-box.
Painted by H6-sen from a picture by To-sur. Eighteenth
century (?).
Si She is associated with Yang Kwei-fei, the mistress of Ming Hwang
(see No. 668) and Li Fujén, the concubine of Wu Ti of the Han dynasty,
as one of the proverbial beauties of China. She was a fatal gift to the
prince Fu Ch’a (B.c. 473) from his enemy Kow Tsien, the ruler of Ytieh.
After the passion excited by her charms had accomplished the downfall of
her besotted paramour, she was abducted and killed by Fan Li, the
counsellor of Kow Tsien, who had determined thus to free his master from
the danger to which Fu Ch’a had succumbed.

69. Kakémono, on silk, painted in colours. Size, 362 x 14.

Landscape. Mountain scenery, with cranes.
Artist unknown. No signature. Two seals. Seventeenth
century (?).
70. Kakémono, on paper, painted in colours. Size, 22% x 13.
Landscape.
Painted by Ma Liana (Jap. Band). Signed. Seal.
Yiien dynasty.
71. Kakémono, on silk, painted in colours. Size, 87; x 173.
Chinese sages.
Two sages meeting beneath a pine-tree are going through the
ceremonies of a polite salutation. Their clothing and the branches
of the tree are agitated by a strong wind.
Painted with a fine brush. Artist unknown. No name.
Two seals. Ming dynasty.
This picture has been copied, with slight variations, by Kano
 CHINESE PICTURES. 507

Moronosu (see No. 1262). It undoubtedly has reference to some legend,

but the subject has not been identified.

72. Kakémono, on paper, painted in colours. Size, 661 x 164.

Landscape. Mountain scenery.
A very modern production, probably painted within the last ten
years. It is, however, in the old style, and though hastily sketched,
is picturesque and shows considerable force of design. It is of
interest as evidence that the ancient art of China has not entirely
fallen into neglect.
Artist unknown.

73. Kakémono, on silk, painted in colours. (From the Franks

Collection.) Size, 69 x 382.
The genii at Kw’én Lun.
Si Wang Mu is seen in an open space in the mid-distance
surrounded by her attendants. Near by stands Lao T'sz’ (who
bears a strong resemblance to Fukurokujiu, the lofty-headed
member of the “Seven Gods of Good Fortune” of the Japanese), the
Emperor Muh Wang, and another figure. Tung Fang-so, T’ieh
Kwai, and many other of the Rishi, made familiar in Japanese
sketches, are shown approaching the place of reception. In the
foreground a multitude of genii, riding upon various animals, are
arriving upon the scene, and are watched with great interest by
scattered bevies of beautiful girls, the retinue of the fairy queen.
The sacred peaches, which convey the gift of longevity, appear in
luscious profusion.
Artist unknown. Eighteentbh century (?).
Kw’én Lun (Jap. Konron), fabled as the abode of Si Wang Mu (see
No. 705) and her husband Tung Wang Kung, and the haunt of the genii,
is a mountain in Central Asia identified by modern geographers with
the Hindu Kush (Mayers). There is strong reason to believe that the
story of Kw’én Lun, with its rulers and genii, is an adaptation of the
legend of Mount Sumeru, Tung Wang Kung and Si Wang Mu probably
representing Indra and her consort, while the four handmaids of the goddess
—each of whom is assigned to a special point of the compass—correspond
to the Four Déva Kings of the North, East, South and West.
In Sinico-Japanese Art, Tung Wang Kung does not appear as an
associate of Si Wang Mu, unless the lofty-browed sage here referred to as
Lao T'sze, or Fukurokujiu, be intended for the lord of the realm.
A description of the wonders of the mountain paradise will be found in
Mayers’ ‘ Chinese Readers’ Manual,’ p. 109.

73a. Kakémono, on silk, painted in colours. (From the Franks

Collection.) Size, 632 x 38%.
The Genii at the Court of Si Wang Mu. (See No. 73.)
The immortals are assembled at the mountain realm of the fairy.
Si Wang Mu is seen sailing through the air upon a phoenix towards
508 CHINESE AND KOREAN PICTORIAL ART.

the place of meeting, accompanied by her palace, which is borne

upon a cloud.
_ Artist unknown. No signature. Seal. Highteenth
century (?).
74. Kakémono, on silk, painted in colours. (From the Franks
Collection.) Size, 534 x 323.
Portrait piece. A Chinese family in a garden.
The formal and self-conscious posing of the figures, and the
attention to details of feature leave no doubt that the picture is
painted to order as a family group.
The artificiality.of the composition indicates that the resources of
the artist were overstrained by a commission of a kind apparently
so unusual in China.
Painter unknown. It is probable that the omission of
name and seal is a mark of deference on the part of the
artist to the relatively exalted rank of his patron. Eighteenth
century.

75. Kakémono, on paper, painted in colours. (From the Franks

Collection.) Size, 49% x 18.
“ Very brilliant and beautiful women.”
A modern work, probably painted for sale to foreigners.
No signature. Two seals.
76. Kakémono, embroidered and painted on silk. (From the
Franks Collection.) Size, 68% x 363.
The Genii at the Court of Si Wang Mu.
The picture is a variation of the subject treated in Nos. 73
and 73a.
The silk forming the ground-work appears to be woven by hand
in such a manner as to leave partial interruptions of continuity
corresponding to the outlines of the figures. The tints are pro-
duced partly by ordinary pigments, partly by the interweaving of
coloured threads.
Artist unknown. No signature or seal. Eighteenth
century (?).
77. Kakémono, on paper, painted in colours. (From the Franks
Collection.) Size, 342 x 11f,
Arhat on tiger. |
Drawn with a very fine brush. Treatment peculiar.
Artist unknown. No signature or seal. Eighteenth
century (?).
 CHINESE PICTURES. 509

78 and 79. A pair of kakémonos, on paper. (From the Franks

Collection.) Size, 513 x 23.
Pictorial and Calligraphic mounts.
(1.) The upper of the three mounts is calligraphic. The middle
represents two Rishis, accompanied by a white animal of uncertain
species. The lower, drawn in black upon a gold-ground, shows a
picturesque view of a mountain path with figures, and will serve
for comparison with the landscapes of the early Kano school.
(2.) The upper drawing sketched on silk in monochrome represents
the Eighteen Arhats crossing the waves to greet the Dragon King,
who stands with his attendants to receive them. Sixteen of the
Arhats correspond to the original number as shown in Japanese
pictures. One of the two supernumerary saints is opening his
cranium to display a small face occupying its interior. The middle
picture contains figures of an old man, a young girl, and a child.
The lower mount is calligraphic.
Artists unknown. Eighteenth century (?).
79a . Kakémono, on silk, painted in colours. Size, 353 x 183.
Sage and disciples.
Painted by SEAY-SHE Sze-cHune (Jap. SHA-JI-SHIN)， Ming
dynasty.
80. Kakémono, on silk, painted in colours. (From the Franks
Collection.) Size, 42} x 1€3.
The Three Sages (Conrucius, Lao Tszz, and S’Axyamunt)
studying the symbol of the Ying and the Yang.
The resemblance, previously alluded to, between the pictorial
representations of Lao Tsze and Fukurokujiu is here strongly
marked, and the founder of Taoism is accompanied by the stag and
knotted staff, which are the usual attributes of Jurdjin and occasion-
ally appear in association with Fukurokujiu in Japanese pictures.
One of the two companions of Lao Tsze is carrying a little child,
who holds a musical instrument in one hand and a blossoming
branch of uncertain kind in the other. Two boys are in attendance,
one carrying a Peach of Longevity.
Artist unknown. Poetical inscription in commemoration
of longevity. Eighteenth century (?).
81. Kakémono, on silk, painted in colours. (From the Franks
Collection.) Size, 22 x 284.
Two Rishis.
Two boyish figures with merry but wrinkled features, seated
upon a grassy mound at the foot of a tree. The branches of the
 510 CHINESE AND KOREAN PICTORIAL ART.
SE ee NS See SL Madea RNs An ST 2
tree are enveloped by a cloud that is issuing from a red gourd held
by one of the Rishis.
The picture probably represents Han Shan and Shih’te (see
No. 606).
Artist unknown, No signature or seal, Eighteenth
century (?).
82. Kakémono, on paper, painted in colours. (From the Franks
Collection.) Size, 48} x 234.
The arrival of Lao Tsze at the garden of Si Wang Mu.
Lao Tsze (or Fukurokujiu) is seen riding through the air upon
his stork towards a garden, in which two richly-dressed personages
are watching his descent. An impish figure rises in a cloud-wreath
to welcome the sage with an offering of a sacred Peach.
Artist unknown. No signature or seal. Eighteenth
century (?).
83. Kakémono, on silk, painted in colours. Size, 592% x 183.
Kingfisher, peonies, and rushes.
A good example of the free touch and harmonious colouring of
the better painters of the Ming dynasty. This style has been exten-
sively copied by the Japanese artists of the later Chinese school.
Painted by Wana LIEH-PUN (Jap. Go-rrsu-rr). Signed.
Seals, The picture is accompanied by a certificate. Ming
dynasty.
84 and 85. A pair of kakémonos, on silk, painted in colours. Size,
394 x 113.
Sage reading in a wood. Summer scene.
The two paintings are really complementary halves of a single
picture. A sage, in summer dress, lies reading upon a grassy knoll
by the side of a little brook, and a boy is seen approaching him
with a fresh supply of books. The pines, willows, bamboos and
other trees, are very conventional in drawing.
This curious practice of mounting the two halves of a single
painting as a pair of kakémonos is not rare. Another example is
offered in Nos. 213 and 214 by a Japanese artist.
Painted by Tsz’ Cuao (Jap. Sut-sHd). No signature or
seal. Certificateby Kano Hoarn Yursury. Ming dynasty.
86. Kakémono, on silk, painted in monochrome. | Size, 343 x 154.
Daruma (Sansk. Duarma) crossing the sea upon a reed.
Painted (in Japan) by Hrs NGAN (Jap. Moxv-an). Seal.
Seventeenth century.
Bodhi Dharma, the twenty-cighth Indian and first Chinese Patriarch, was
 CHINESE PICTURES. 511

the son of a king in Southern India. He arrived in China in a.p. 520 and
established himself in a temple in Loyang. During nine years of his stay
there he remained buried in profound abstraction, neither moving nor
speaking, and when he returned to consciousness of his surroundings his
legs had become paralysed owing to their long disuse. In the Butsu-zd
dzu-t it is said that he came to Japan in the twenty-first year of the reign
of the Emperor Suiko (A.D. 613), and died on Mount Kataoka, The time
and place of his death are, however, uncertain; the Chinese maintain that
he died and was interred in their country, but that three years after his
decease he was met travelling towards the west (India) with one foot bare,
and when his tomb was opened, by order of the Emperor, its tenant had
disappeared, the resting-place being empty save for a cast-off shoe.
In Japanese pictures Daruma appears in three chief forms :
1. Seated in rapt meditation with crossed legs. His face is sometimes
visible through a gap in the ruined wall of the temple, which has fallen into
decay during his long oblivion of external things.
The subject is often treated with irreverential humour by artists of the
popular school; the saint is sometimes reduced to a comical head and round
body, divested altogether of arms and legs, which are supposed to have
withered away from disuse. Sometimes he is shown aroused from his
abstraction by the nibbling of a rat, and assuming an expression extremely
suggestive of unpatriarchal blasphemy; or, more agreeably restored to
consciousness by the attentions of a geisha, towards whom he rolls his
eyes with an appreciative but unsanctified leer.
The “ female Daruma” engaged in a nine years’ abstraction is another
favourite play of humour, the point of the joke turning upon the supposed
incapability of the sex for lengthened silence or reflection.
2. Crossing the sea to Japan upon a reed or millet-stem.
3. Travelling with one foot bare towards his native country.

87. Kakémono, on silk, painted in colours. (From the Franks

Collection.) Size, 672 x 423.
Buddhist temple (?).
The picture shows the front aspect of a walled-in edifice of im-_
posing proportions, The inner entrance is guarded by two images
of lions, and its columns are decorated with dragons. Within the
enclosure stands a tall personage clad in a red and blue dress and
holding a tablet, and in front of the outer walls are a party of sages
engaged in discharging formalities of politeness.
It is to be noted that an attempt at perspective appears in the
drawing of a bridge leading to the inner entrance, and that fic-
titious clouds are introduced, as in Japanese pictures, to give the
effect of the relative distance of various details of the scene.
Painted by Fine Ke (Jap. HO-KED. Signed. Two seals.
Ming dynasty.
88. Kakémono, on silk, painted in colours. (From the Franks
Collection.) Size, 652 x 203.
Men and horses.
Three horses stand saddled in readiness for their riders, and
512 CHINESE AND KOREAN PICTORIAL ART.

near them some men holding banners and other badges of official
rank carried in processional journeys. _
Artist unknown. No signature or seal. Ming dynasty.
89. Kakémono, on silk, painted in colours. (From the Franks
Collection.) Size, 614 x 42}.
Lady and children.
Painted by IsING CHANG-TANG (Jap. OHIN-SHO-TO)，
Signed. Seal. Ming dynasty.
90. Kakémono, on silk, painted in colours. (From the Franks
Collection.) Size, 813 x 494.
Pedlar and children.
The proprietor of a gaily decorated stand of fruit, cakes, and ee
of all kinds, is bargaining with a little boy, while other children
cluster around the tempting emporium. This picture is an im-
portant example of the elaborate Ming colouring.
“Painted in the third month of the cyclical year Ping Tsze
by Tszz Cuuna” (Jap. SHI-SHIU)， Seal. Ming dynasty.
91. Kakémono, on silk, painted in colours. (From the Franks Col-
lection.) Size, 5384 x 354.
Female Rishi with Deer.
The figure is enveloped in a long cloak fastened at the neck
with a brooch, and carries a gourd, a sacred fungus, and a peach
from the Tree of Longevity.
Painted by OHA FANG-LAN (?) 人 Two seals. Ming
dynasty.
92. Kakémono, on silk, painted in colours. (From the Franks
Collection.) Size, 684 x 274.
“Spring sailing in the Pa Re ” Landscape. Lake and
mountains.
Painted by K’ru-yine. Signed. Seal. Ming dynasty.
Dated in the thirty-fourth year of the cycle.
93. Makimono, on silk, painted in colours. Length, 246 x 11}.
Panoramic view of a river.
The roll forms a continuous picture showing the course of a river
with its bridges, the houses, gardens, &c., on either side, and the
occupations of the people that crowd its banks. It is of special
interest in illustration of the architecture, dress, customs, &c.,
of the period preceding the Yiien dynasty.
Painted by 也 AN-LIN CHANG-TSEH-TUAN (Jap. Kan-RIN
 CHINESE PICTURES. 5138

CHO-TAKU). Certificated by Wen-cufine Mine (Bun-cuo-

MEI), a noted scholar and calligraphist of the fifteenth and
sixteenth centuries. ‘The authenticity of the document is,
however, very doubtful. Sung dynasty.

94. Makimono, on silk, painted in colours. Length, 197 x 10.

Insects and flowers.
Carefully drawn and coloured, but weak in design.
Artist unknown. No name or seal. Ming dynasty.

95. Makimono, on silk, painted in colours. Length, 823 x 8}.

“ Four-seasons”’ landscape.
A panoramic view displaying a landscape under the successive
aspects of spring, summer, autumn, and winter.
Artist unknown. No name or seal. Ming dynasty. —
The representation of the four seasons in a single picture is often seen
in Chinese and Japanese paintings. Another example is offered in
No. 1899.

96. Makimono, on silk, painted in colours. Length, 309 x 93.

. “The Hundred Children.”
Chinese children occupied in various sports.
Painted by Liv Tsun (Jap. Riv-suun). Signed. Seal.
Fifteenth century.
This subject is a favourite one with the later artists of the Kano
school, who have closely followed the decorative manner of the artists of
the Ming dynasty.

97. Makimono, on silk, painted in colours. Length, 127 x 9}.

The Highteen Arhats.
The disciples of S’akyamuni are represented crossing the sea to
reach a palace on the shore, at the gates of which they are received
by two personages in royal attire. Some of the figures may be
identified by their attributes.
Painted by K’ru-yine (Jap. Kiv-yer). Signed. Seal.
Ming dynasty.
It is to be noted that here, as in the more modern Chinese pictures,
eighteen arhats are recognized, while the Japanese, following the older
Chinese masters, include only sixteen. wo of the number on this roll
bear the wrne or brow mark of the Bédhisattva.
2h
ee
ee
SO
DE

514 CHINESE AND KOREAN PICTORIAL ART.

98. Makimono, on silk, painted in colours. Length, 202 x 123.

The gymnastics of the twelve days.
Drawings showing the different posture exercises to be practised
morning and evening on each day.
Artist unknown. No name or seal. Ming dynasty.
99. Makimono, on silk, painted in colours. (From the Franks
Collection.) Length, 48} x 293.
Four sages studying a picture of the sun reflected
in the waves. _
The faces, which are of a somewhat jovial aspect, are very freely
drawn, and are more unconventional and life-like than any in the
Japanese portion of the collection.
Painted by PrNa-KIANG Uxio (Jap. Hei-x6 U-xi0).
Signed. Seal. Highteenth century (?).
100. Makimono, on silk, painted in colours. (From the Franks
Collection.) Size, i183 x 293.
“The procession of the Ancient of Felicity, Honour,
and Longevity.”
An old man attired in the robes of a scholar, attended by a train
of damsels bearing emblems of rank, and preceded bya troop of
children.
Artist unknown. No signature or seal. Highteenth
century (?). |
101. Makimono, on paper, painted in colours. (From the Franks
Collection.) Length, 94 x 447.
Chinese holiday scene.
A multitude of holiday makers amusing themselves in various
ways. The chief centre of attraction in the scene is a large theatre
at the entrance of which the performers are collecting an audience.
Two of the actors are shown dressing for their parts in a small
room in the building.
The picture is useful as evidence of the existence of a popular
art in China comparable to that of the Japanese Ukiyo-yé. Such
works are rarely found in European collections.
Artist unknown. No signature or seal. Highteenth
century (?).
102 to 109. A set of eight unmounted drawings, on silk, painted
in colours. Size, 95 x 113.
. “A snowy evening in Koten.”
woe“The descent of the wild geese upon the marshes.”
“A rainy night in Shésho.”
os«“ An evening walk by the river in Shoko.”
 CHINESE PICTURES. 515

. “A spring morning in Shiken.”

“The verdure clothes the earth and mounts to the heavens.”
. “The temple bell peals through the mists of evening.”
xOI«The snow reposes upon the holy mount.”
Artist unknown. Ming dynasty.
110. Unmounted drawing, on silk,.painted in colours. Size,
31 x 144.
Sage with basket, Ch’uu Yung-tsze (Jap. CHO-YO-SHI).
Painted by CHAo CHUNG (Jap. CHO-SHIN). Signed
Cuao Tsz’-Kao (Jap. Cu0-sut-Ko). The seals are, however,
those of Cuao Cuune, and the signature is to all appearance
a forgery. Ming dynasty.
111. Unmounted drawing, on silk, painted in colours. Size,
474 x 21.
Lao Tsze, or Tung-fang So.
An old man with ample forehead, supporting himself by a long
staff, the crook of which is carved in the form of a dragon. He
holds a peach of longevity in his left hand, and stands beneath a
pine-tree.
Parts of the drawing have been unskilfully retouched.
The painting is of uncertain date and origin. It is believed to
be the work of a Chinese artist of the early part of the Ming
dynasty, but may possibly be Korean.
No signature. Seal. Fifteenth century (?).
112. Unmounted drawing, on paper, paintedin colours. (Presented
to the Collection by J. Gilbertson, Esq.) Size, 803 x 201.
Landscape, Winter scene. Moonlight.
Painted by OHAN TI-KO (Jap. CHIN-TEI-KIO)， Signed.
Seal. Nineteenth century.
113. Unmounted drawing, on paper, painted in colours. (Presented
to the Collection by J. Gilbertson, Esq.) Size, 454 x 214.
Lao-Tsze (?)
An aged man, with lofty brow, seated in a roughly-built boat,
rowed by a boy. ‘I'he sage is gazing at a crane, which flies away
bearing a wand in its beak.
Painted by Yune-yuiin Txr-xo (Jap. YO-BUN Toxu-x10).
Signed. Seal. Nineteenth century.
114. Kakémono, on paper, painted in colours. Size, 61 x 353.
(From the Franks Collection.)
Confucius (?).
The picture is woven in the same manner as Jap. No.
3451. Artist unknown. -Nineteenth century.
22
516 CHINESE AND KOREAN PICTORIAL ART.

II. COPIES FROM CHINESE PICTURES.

155. Kakémono, on silk, painted in colours. Size, 21} x 32%.

Two pictures after Chinese artists.
The upper is a drawing of insects and flowers, after Cuao CHANG
(Jap. OHO-SH0) of the Sung dynasty. The lower a bird, after 了PIEN
了 ING-cHAO (Jap. HEN-KEI-sHG) of the Ming period (fifteenth century).
Carefully executed with a fine brush.
Painted by Ka-no NAGA-NOBU (or Ko-szn). Signed Ko-sEn
Fusi-wara No NAGA-NOBU。 Eighteenth
了 century.

156. Kakémono, on silk, painted in colours. Size, 427 x 174.

Landscape with figures.
Copied from a painting by Ma Yi (Jap. BA-YEN) of the Sung
dynasty.
Painted by Ka-no Nort-nozu. Signed. Seal. Nineteenth
century.

157 and 158. A pair of kakémonos, on paper, painted in colours.

Size, 45} x 171.
The “Hight Immortals.” (See p. 55.)
1. Shows Li Tieh Kwai setting free his spirit from the mouth of
a gourd; Ho Sien-ku, as a female holding a lotus-stem ;Li Tung-pin,
distinguished by a sword slung athwart his back; and Chung
Li-kiian, who bears a fan.
2. Represents Chang Kwoh setting free a miniature horse from
a gourd; Lan 'T's’ai-ho with a basket; Han Siang-tsze with a flute ;
and Tsao Kwoh-k’iu holding a pair of castanets.
Copied from pictures by OHANG-Li (Jap. CHd-raKv).
Painted by Ka-no Sani-nopu. Signed KIU-SEI SANE-NOBU，
Seal. Highteenth century.
 COPIES FROM CHINESE PICTURES. 517

159. Kakémono, on silk, painted in colours. Size, 142 x 14}.

Horses.
Copied from a picture by CHAO MENG-PU (Jap. CHO-SU-GO)
of the Sung dynasty. Painted by Sur-an. Signed. Seal.
Nineteenth century.

160. Kakémono, on silk, painted in colours. Size, 29% x 443,

Copies from celebrated Chinese paintings of the Sung
dynasty.
1. Bamboo, monochrome, after Su-suz or Tuna-po (Jap.
T6-BA).
. Landscape, after H’1a Kwer (Jap. Ka-xer).
. Egrets, monochrome, after Liana Cur (Jap. RIO-KAIT).。
. Flower, after Kwon Hi (Jap. Kwaxxt).
. Landscape, monochrome, after Mun Ki (Jap. Moxxet).
. Peach, after Tsren Suun-xU (Jap. Sen SHUN-KIO).
Grapes, monochrome, after JIH Kwan (Jap. Ni-Kway).
wp . Sparrow and Plum, after Suzn-Ho-rren (Jap. SEN-KWA-
OABDaw
DEN).
No). Fishes, after Fan NGAN-IGN (Jap. 再AN-AN-JIN).
Painted by Ka-no OSA-NOBU。 Signed SI-SEN HoO-ceEn.
Seal. Nineteenth century.

161 and 162. A pair of kakémonos, on silk, painted in monochrome.

Size, 493 x 221.
Tiger and dragon. .
Copied from pictures by Mun Kz, of the Sung dynasty
(Jap. Moxxet). Painted by Ka-no YosHI-NOBU。 Signed
Yosu1-Nosu. Seal. Dated 1792.
These pictures may be compared with the renderings of the same
subject by the Japanese artists of the Renaissance, by whom MUH-KI was
regarded with the utmost veneration.

163. Kakémono, on silk, painted in colours. Size, 12} x 243.

Arhats in the mountains.
Copied from a picture by K’1u-yine (Jap. Kru-yer) of the
Ming dynasty. Painted by Curxu-pey. Signed. Seal.
Nineteenth century.
164. Kakémono, on silk, painted in colours. Size, 49% x 20.
Flowers in vase.
了Oo-YUEN (Jap. NSEI-WA-
Copied from a picture by TSING-
518 CHINESE AND KOREAN PICTORIAL ART.

GETSU)。 Painted by Un-sHd. Signed. Seal. Nineteenth

century.

165. Kakémono, on silk, painted in colours. Size, 62 x 17#.

The meeting of the Genii at the court of Si Wang Mu.
The Taoist rishis are assembling at the mountain territory of the
Fairy Si Wang Mu. In a central space are seen Lao-tsze (who re-
sembles closely the Japanese pictures of Fukurokujiu), Confucius,
and S’akyamuni studying a diagram of the Ying and Yang. (See
Nos. 73 and 80.)
Many other familiar figures of rishi are seen, and amongst them
may be noticed a venerable personage riding upon the waves upon
a white mule, and receiving a greeting from a spiritual “double,”
sent for the purpose out of a gourd by T’ieh-Kwai. The rider is
probably Chang Kwoh.
Copied from a picture by CHAO MHar-snan. (Jap.
SHO-KAI-ZAN.) Painted by Sexi-xo. Signed. Seal. End
of eighteenth century.
166. Kakémono, on paper, painted in monochrome. . Size,
532 X 243.
Bamboos.
Copied from a picture by Pix LI-oHANG (Jap. 再AKU-RI-SEI)，
Painted by SAKU-RAI SHID-ZAN. Signed SAKU-RAI DO-ITIN.
Seal.
167. Kakémono, on silk, painted in colours. Size, 374 x 13.
Horses. aie |
Copied from a picture by -CHAN NAN-PING (eighteenth
century). Painted by Yu-aen. Signed Yu-aun 玉 I0.
Seal. Eighteenth century.
168. Kakémono, on silk, painted in colours. Size, 552 x 273.
“Twelve varieties of flowers.”
Peonies, Chrysanthemums, Lotus, &c.
Copied from a picture by SHUN-Ki (Jap. SHUN-FKIO).
Painted by SETI-KEI， Signed Ser-Ker 及 WAI-SHI， Dated in
the cyclical year Hinoto no mi.
169. Makimono, on paper, painted in colours. Length, 150 x 11.
Amusements of Chinese girls.
A coloured tracing from a roll, by CHANG Kt (Jap. Cx0-x1).
Fifteenth century.
 COPIES FROM CHINESE PICTURES. 519

170 to 172. A set of three drawings, on silk, painted in mono-

chrome. Sizes various.
Copies from old Chinese masters.
1. Bamboos.
2. Orchid, after Tsz’ Cu’wane (Jap. Szs-s6).
3. Chinese peasant returning homewards.
Artist unknown. Temp. seventeenth century.

173. Unmounted drawing, on silk, painted in monochrome. Size,

441 x 173. :
Landscape, with waterfall.
Copied from a picture by Wu Tao-1sz’ (eighth century).
See also Nos. 226, 1262 and 2856.
 520 OHINESE AND KOREAN PICTORIAL ART.

Ill. KOREAN PICTURES.

一一 一人一 一- 一

223. Kakémono, on silk, painted in colours. Size, 341 x 143.，

Hawk and pine-tree.
A bold but very hasty sketch, differing from the usual Chinese
picture, both in style and in the materials used.
Painted by Sut-zan (Japanese pronunciation). Signed.
Seal. Temp. eighteenth century (?).
224 to 226. A set of three unmounted drawings, on paper,
painted in monochrome and colour. Sizes various.
1. Landscape. In colours.
2and 3. Orchid. Monochrome.
Painted by Krn-y6-cen (the artist who accompanied the
Korean ambassador to Japan in 1878).
The style of these pictures is identical with that of many of the
Chinese artists, and offers no peculiarities by which the works may be
distinguished as Korean.

227. Unmounted drawing, on paper, painted in colours. Size,

25} x 164.
Portrait of a Korean nobleman.
A modern Korean work. The face shows a rudimentary attempt
at chiaroscuro.
Artist unknown. Nineteenth century.
 ( 521)

|e ldBE Soa

A. Ariiyh, 12
ABRIKAWA Battin, 192
Apt HAYATARO, 194 ARISAKA, 367
Abé no Seimei, 391 ArtsHiet, 12
Abokiu, 237 ARITADA, 12
Adzumaya~buné, 299 Aritei, 30
Afang Kung, 237 Ariti, 75
Agni Déva, 69 Artyasu, 12
Aikido, 44 ARIYUKI, 12
Army, 9, 11 Asani TonaAN, 189
AIMI Minamoto no TAKEKUNI 132 Asaina, 812
Ainos, 460 Asakusa nori, 382
AIsEtsu, 194 Ashita Sonja, 47
AISHIN，310 Asuras, 86
Aizen Mis 0, 83, 84 Atchala, 72, 84
Ajita, 47 Avalékités’vara, 63, 66, 72, 79
AKAMATSU KAKUNEN, 450 Awapacucui Keri, 102
Ak&sagarbha, 89 AWADAGUCHI Fustwara No TAKAYOSHT,
Akchoébhya, 72, 81 464
Akujo, 43 Awapbzvu Bunzo, 196
Akusen, 58
AMANO GENNoJO, 194
AMANO HEIGAN, 430 B.
Amano Kisset, 387 Bacuo, 250
Amatérasu, 399 Baaan, 190
Amawaka hiko no Mikoto, 189 Baifuku, 57, 325
Amida. See Amit8abha. Bariaaku, 450
Amitabha, 63, 66, 67, 72, 74, 76, 78, 79, Bara@an, 190
80, 81, 90, 93 Batin, 192
Amitibha and the Twenty-five Bdédhi- Batirsu, 191
sattvas, 77 BAIKEI， 201, 202, 260
Amédgha, 81 BAIKEI Tarra Tsuairans, 193, 201, 202
Amravati sculptures, 14, 50 BAIKEN, 266
Ananda, 68 BAIKWAKEN, 311
Anoku Kwannon, 65, 291 Batret, 468
Anthropological Myths, 167 BAISEN， 462, 463
Aoxt Renzan, 449, 454 BAISHID GroxuKo, 441
AoKI SHIKUYA，189 BAISHO, 440
Arai TOIIRO, 371 BAISHUN,， 282
Arhat, 46, 66, 318 Baitet, 188, 257
ABRTHISA，12 BAIYEI, 282
* Opportunity has been taken, in the preparation of the Index, to rectify a few
minor errors, (as in the use of the long marks over the U and o in the transliteration
of the names of artists), that had escaped observation during the correction of the
proofs of the text. Hence, in cases of discrepancy the Index must be accepted as
correct.
 522 INDEX.
at tala ise ia nants acess tai dogcase
BAKAGAN, 161, 487 Buddhist wall decorations, 89
Bakémono, 403 Bukan Zenji, 57
BAMOKI, 192 Buko, 193
BANJIU, 461 Bummel, 250, 416
BankEI, 202 Bumper, 449
Barn, 487 BUMPIO, 246
Baro, 487 Bumré, 449, 462
Bashiko, 58, 137 Bunceniv, 195, 243
BATATSU, 486 Buncud6 (Ippitsusai), 344
Batd Kwannon, 65 BuncuO (Tani), 195, 241, 242, 248, 271
Battle of Ogaki, 382 DBUNCHOMET 488
BayeEn, 486, 516 Bunuio. See Bumpio.
Bet Sangin, 190 Bunitsu, 195, 243° 。
BEIGEN Sansuiu, 265 Buyst, 195
BEIGENSHO, 487, 498 BUNKAT 196
Betytsin, 487 BunKAku, 838
Brizan, 192 Bunkel, 245, 246, 250
BENIT 339 Bunk, 188, 192, 196
Benkei, 117, 153 BUNKIKU Jo, 464
Benten, 27, 40, 41, 74, 76, 79, 87 Bunkio, 177
Benzai Ten. See Benten. Bunko, 462, 467
Bhadra, 66, 210 Buxxwa, 210
Bhaichadjya Guru, 72 BuNKWADO, 339
Bharadvaja, 46 Bunnt, 195
BIKEISAN, 265 Bunein, 202, 450, 455, 456
Biku Daikoku, 34 Bunsat, 196
Binson, 174 Bunsurn, 196, 244, 488, 498
Bishamon, 27, 39, 69, 88 Bunsho of Hitachi, 155
Bryo Sessuiv, 273 Bunsuo, 187
BoKKAI Dostn, 454 Bunshosei, 235
Boxxet, 182 Buyson, 185, 196, 244, 251
Boxvan, 250, 364 Bunwo, 195
Boxviy, 185 Bunyo, 195, 245, 246
Boxvitsv, 463 Bunyosal, 246
BoxvuseEn, 369 BunzayeEmon, 190
Boxusen HOsuin, 461 Buset, 195
BoxkusHinsal, 251 Bushishi, 58
BoKUsHO, 432 Buson, 188
BorUsHO GOSHIREI， 503 Butei, 221
BoxuTaku, 268 Buyetsu, 450
Boxuwo, 341 Buzen, 189, 239, 240
Bom, 58
Bon Ten. See Brahma, ;
BoxHO, 181 C.
Bowsur, 181 Camels, 429
Bosat, 190 Carp, 224
Botankwa Shohaku, 292 Cascade of Mino, 427
Brahma, 41, 68, 69 Celestial Dragon, 48
Brobdignagia, 387 Celestial Fox, 391
Buddhist Hades, See Naraka. OHIA Fanenan, 512
Buddhist Paradise. See Sukhavati, CHAN Nanp'inc. See Chinnanpin.
Buddhist pictures, characteristics of, 24 Cu’an TEI-Ko, 515
Buddhist pictures, motives of, 26 Ch’an Yung-tsze, 515
 INDEX. 523

Chang Chihho. See Chéshikwa. OHIN OHIUFOKU,， 497

Chang Hiao, 179 Chinjin, 475
Chang Fei, 380 CHINKOKUSHI, 505
CHANG Ki, 488, 497, 518 Chinnan Sennin. See Ch’én Nan.
Chang Kiuko, 58, 326 CHINNANPIN, 163, 186, 502, 518
Chang Kwoh, 55, 315, 325 CHINTEIKIO, 515
Chang Li, 179 Chinese Landscape, 197
Chang Liang, 165, 256, 261 Chinese Pictorial Art, 481
- Cuane Li, 516 CHINNEN, 432
Ch’ang Saug Kung, 224 CHINSHOTO, 512
CHANG SANGYIU 483 OHINY0, 252
Chang Shi, 176 CHINZAN, 202, 262
Chang Taoling. See Chodorio. CHISHIN, 282
CHANG TsEH-TUAN, 512 CHISHIN (or Tomonosv), 306
CHANG Ytrn, 483 Chisho, 179
Cuao CuHane, 486, 516 CHISHO Datsut, 17
CHAO Cuuna, 515 Cutsoku, 246
Chao Ch’ung-kwoh, 379 Cut, 190
CHAO CHUNGMUH， 497 Cutu Cuimien, 488, 498
Ch’ao Fu, 212 Chitiai, 141
CHAO HaisHan, 518 Cutan, 181
Cuao Linasane, 485 CultBki, 332
Cuso Meneru, 487, 517 CHIGBOKU, 487
Cuao TANLIN, 487, 497 Chiudahantaka Sonja, 47 :
CHAO TSIENLI, 486 Cuitru, 190 ~
CHAO T'sz’How, 487 C1030 Hinks, 5, 82
CHAO T'sz’Kao, 515 Cui0K10, 189, 415
CHAO Une, 465 CHIDSEN Sensat, 414
Ch’ao Yiin, 217, 805, 379 Cuitwa, 346
Cuao Yune, 487 OHIGZEN, 188
OHEN CuouNnGrFuH, 497 Cuo, 190
Ch’én Nan, 56, 286, 301, 315, 325 CuO Densu, 21, 66
Ch’eng 'T’ang, 139 OHO GrssHo, 194
CHIDEN, 183 CHOAN GeENKI, 206
Ch’ih Pi, 254, 294 Cuost, 203
CHIHARU, 203 CHOBUNSAI, 345
CHIKAT, 23 CHOcHITBOKU, 497
CHIKANOBU, 283, 296, 304 Chochitika, 58, 326
CHIUKOKUSHI, 505 CHODO, 461
CHIKUAN, 186 Chédorio, 59
CHIKUBOKU, 278 CHOGA,95, 98
CHIKUDEN, 517 CHOGA Horn, 98
OHIKUD0,， 450, 454, 455 CHOGWAKO, 465
CHIKUGAN, 463 CHOHACHI, 336
OHIKUGO Horny, 12 Chohi, 380
Cuikusiu, 463 Cuost, 194
CHIKUKOKU, 436 Chojiukoku, 379
CHIKUOSAI, 257, 261 OHOKI, 158, 488, 497, 518
Chikurin Shichi Kenjin, 231 CHOKO, 376
CHIKUSEKI， 190 - CxOKO, 179, 188, 203, 335
CuIkusHosEI, 463 CHOKOKEN, 404
CHIKUTO, 190 CuoKu, 189
CHIKUZEN-NO-SUKE GANTAT 462 CHOKUAN, 181
524 INDEX.

CHOKUAN THE SEconp, 181 Dai Nichi Niorai, 78, 83

CHOKUKEN, 416 Datcuin, 234
CuHokusal, 386 Daiao 8690, 20
Chokwaro, 55, 325 Daijin, 43
CHOMEI, 461 DaIKaku, 282
CHONEN, 462 Daikoku, 27, 88, 90, 229, 248, 398, 420
Cnontn, 461 Daitja Matri. See Kichimdjin.
Cuoraxu, 516 Dakaharita Sonja, 46
Chorei, 179 Dakora Sonja, 47
CHOREIIO, 485 Danrin, 87
Chorid, 165, 256 Daruma, 510
Cuoritsal, 184 DasoKUKEN, 280
Chosha, 475 Darth Tsunamunh, 234
CHOSEN, 268 DerKo, 204
CHOSENBI, 486 Demon-Spider, 109
CuHOSsETSU, 483 Demons, 59
Chéshi, 176 Dengié Daishi, 112
CHOSHIKO，487 Denkei, 179
Ch5shikwa，57 Denké, 179
OHOSHIN， 515 DENKOKI0, 422
OHOSHO, 486 DENROKU, 337
Chos6 Kun, 224 DENSHIN, 179, 251
CxHoson, 23 Denver, 234
Cuosoyv, 483 Dharma, 510
Cuosuao, 465, 487, 517 Divinities of the Thirty Days, 72
CHOSHUN, 337, 373 Doan, 266
Cuoranrin, 487, 497 Doea, 184
CHOTANSAI Fustwara Moripzumti, 309 Doitsv, 461
Choiin, 217, 379 Dojin, 475
Chow Mao Shuh, 295, 326 Doxan, 189
CHOYEIRO, 367 Doncuo, 16
CHOYEN SESSAN, 247 Donuo, 180
Cuoyo, 487 DOoNKEIT 417
Choydshi, 515 Donko, 416
Cuozan KoyEn, 418 Donsuit, 417
Chu Maich’én, 315 Dosuit, 461
Chu Showch’ang, 178 Dove and Plum blossom, 295
Chuko Liang, 245, 322 Dozan Hozopo, 280
Chullapanthaka, 47 Dragon, 48 :
Chung-li K’iian, 285. See Shoriken. Dragon King. See Naga Radja.
Chung Kwei, 217, 280, 245, 271, 291, Dream of Rosei, 392
297, 303, 804, 310, 312, 317, 437 Dsusut Nanpo, 417
Cuune Kwoutsz’, 505 Dwarfs, 167
OHUNG Muu, 487
Comical Botany, 403
Cranes, 129 E.

Crystal, 70
Cuckoo, 430 K..., Hi. For names beginning
with these syllables, see also under
VEL auts Loli < 0%
D. Earthquake, 445
Ebisu, 27, 36, 229
Dai Kokuzé Bosatsu, 89 Ecurco Hogern, 12
 INDEX. 525

EcuizEen No sukh Ganxv, 448, 4538, 488 Filial Piety, 171

Edokoro, 474 Flying Squirrel, 297
Erraxv, 871 Foreigners and foreign vessels at Naga-
Eight-armed Benten, 79 saki, 459
Hight Immortals, 516 Forty-seven Ronins, 154
Kight-sworded Bishamon, 88 Four Accomplishments, 322
Highteen Arhats, 513 Four Supernatural Animals, 51
ErKat, 268 Fox, 391
Errin, 467 Fox Wedding, 214
Ersat, 464 Fu Ten, 69
了 ISAI Rryzan, 400 Fugen Bosatsu. See Samantabhadra.
Esan, 402 Fuerno, 211
HISHIN, 185 Fust SHuncakv, 256
卫 ISHINSAI, 183 Fusti RANSAT 865
了 ISHO, 416 Fujikishi no Rid, 204, 253
Exit, 220 Fusriwara no Hiptutra, 98
Eleven-faced Kwanyin, 64, 80, 92 Fusrwara no Hip&nosu, 100
Elixir vite, 54 FusIwArRa No Kanfrusa, 98
Ema Sarko, 194 Fusiwara NO Korfipzumi, 128
Embroideries, 469 Fusiwara no Korinosu, 99
En Musubi no Kami, 83 Fusiwara no Nosuzank, 99
Encuin. See CHISHO DAISHI， FusiwAra No TaKANosu, 98
Enno, 102 Fustwara no 上 AMENOBU, 100
Expo Hanyfmon, 366 Fugiwara no Tambrsuau, 99
了 NICHIBO Sernin, 100 了 RUoIWARA No TambTsuna, 137
ENJINSAI, 67 Fusrwara NO YoSHIN (On Yédokoro
Enko Daishi, 134 Kami Sdtei), 309
Enrituon, 483 FustwarA No YOsHITOSHI, 444
卫 NRIDTOKU, 483 Fuxayf, 11
Enshi, 178 Fouxucut HAKUYEI, 1938
了 NSHIN Agari, 19 FuxuHara Goeaku, 189
Eri, 183 Fukurokujiu, 27, 80, 235, 297, 393, 485
了 SHIN Sopzu Gensutn, 19 了 UKUSHIMA Kanzan, 190
Esho, 474, FuxKUsHIN, 282
European Influence upon Japanese Fukuyama Epoxoro Ont, 132
drawings, 457 FUKUZENSAI, 868
Funadama no Kami, 83
Funato no Naosut, 16
F. FUsAHIKO, 462
了 USANOBU GinsEtsu, 342
Faceless maiden, 169 FusosHo, 265
Falcon, 133 Futsujin, 74
Fan K’ wai, 379 Futsunushi no Mikoto, 139
Fan Li, 379 Fuy6, 192
Fan Neansty, 517 Fuyo Moxvy6, 217
Fane Cuane, 503 Fylfot. See Svastika.
Feathered men, 168
Fei Changfang, 58
Féng Hwang, 249 CR
Féng Kan, 57 Gaki, 85
Fine Ke, 511 Gako MoKUGA, 218
Fane Suns, 505 GAKUHO YOKOKU, 438
Fifteen Sons of Benten, 74 GAKURIN, 204
 526 INDEX.

GakuROKU GwaASsHI Serirsyu, 249 | GenyA, 278

GAKUTEI, 348, 344 GENYEI, 432
Gaxuyo, 190 GENYEI (Yuin Yrnaq), 485
Gaxkuwo, 183 GENYU, 190
Gama Sennin, 56, 220, 298, 299, 394 Gessal, 865
Gan O or Ganwo, 448 GESSEN, 188, 204, 205
Gan Taxkupo, 448 GESSHIDG， 462
GANBUNSHIN, 454 GEsSHIG (Yuéh Chao), 488, 501
GANHAN, 184 GessH6, 194
GANKEI, 426, 449 Gusso, 205
Gant, 450, 465, 487, 496 GeTsuBITEI, 220
GANKIO, 454 GETSUHO (or GEPPO) 205
GANKU, 448, 452, 453 GETSUREI 462
Ganku School, 448 Getsuyt, 267
Gawrio, 449 GETTAN, 258
GaAnroxu, 455 Ghosts and Goblins, 403
GANSHUN, 483 Gino, 415
Ganson, 185 GIHO (Shibata), 418
GANTAT 448, 458, 454, 462 Gikeiki, 116
Gawntoxu, 449, 454, 463 Giosu No TAIYU, 188
Garo Sanur, 206 Giojin, 475
Gayt, 194 GIOKKAN, |87
Gena, 280 GIOKKIN, 205
GENHEI, 462 Gioku, 70
GeEIAmI, 182 GHOKUAN,， 440
GEKI 280 Gioxup0 (Urakami), 191
GEKKEI, 415, 417, 426 GHOKUDO Snina, 183
GEKKIO, 206 GHOKUGA,， 417
GEKKO, 442 GI0OKUKO, 441
GeENcHI, 206 Giokvuon, 194
GENCHOKU, 416 GIOKURAKU, 278
Genji Monogatari, 113, 124, 142, 146, GIOKURANSAI SADAHIDE, 368
_ 807 GiokuREI DOJIN SEIRIO， 207
Genua, 280 Groxurin, 190
GENKEI, 12, 194, 204 GHOKURIU IsHIN, 88
‘Genkei, 108 GIOKUSEN, 449
GENKI, 206, 415, 416 GIoKUSEN YOsHIN, 272
GrnmMeEI, 249 GIOKUSHI, 428
GENNAI 196 GioxusHo, 440
GENO, 484 GIOKUSUISAI YOSHIKANE, 343
Geneo, 194 Gioxuwo, 190
GENRAN, 432 GIOKUYEI, 205
GENSHIN, 19, 67, 279 GIOKUYEN, 282
GENSHISAI, 284, 297 GIOKUYEN YEISHIN, 310
GENSHIRO, 279, 282 GloKUYENSHI, 181
GENSHO Kogr, 183 GIOKUZAN, 346
Gensuid, 191 Gion NanKat, 188
Gernso, 189 Gioran Kwanuon, 65
Gensd, 216 Gioshi, 475
GeENson, 12 GHIOTEI, 194
GENTAI, 193, 205, 288 G10z0, 192
GENTAKU, 185, 285 GIsHIN, 822
Gentoku, 217, 440 Giro, 418
 INDEX. 527

GHYEN, 416 Hat, 187

GryEns6, 183 Hai Lruseo, 506
Giyo, 415 Haxuso, 417
Gryo, 191, 192 Haxuer, 416
Go DOSHU 483, 519 HaxugGetsusar YOSHINOBU (or Yusnin)
Go Shichi Mis O, 83 302
Gosoxu, 279 Haxvaroxy, 188, 283
Gods of the Twenty-one Mountains, 84 Haxuao, 416
Goaaku, 189, 206 Hakiii and Shikusei, 285
GOGAKU SuHUNSEN, 138 了 AKUKIO, 417
Gohan Festival, 230 Haxkumet, 190
Gohei, 83 Haxorisel, 518
Goitsu, 449 Haxkurokts&x1 Tozan, 229
Goirsurin, 510 HAkvsEI, 283
GOKAN, 344, 457 HaxkvyeEl, 193
Goxrocoxu Fustwara no Yosurrsuxh, | HaxuyeEn, 282, 318, 450
99 HAKUYEN GENMEI, 249
Gom6é, 58, 180 Haxvyo, 419
Gon, 188 Half-men, 168
GoreI, 254, 418 HAMADA Ken, 190
GosgEn, 440 Hamacui Yozan, 192
GosHIN, 20 Han Chungli, 496
Gosuun. See Gekkei. Han Kan, 488, 485, 496
GosoTet, 394 Han Shan. See Kanzan.
Gord YGs6, 275 Han Siangtsz’. See Kanshoshi.
Gororer, 366 Han Sin, 256
Grasshopper procession, 422 ’ Hanapusa Ixket, 336, 378
GiANsHIcHI, 185 Hanapusa Ixxtyo, 336
Gujin, 475 } Hanasusa Ippo, 336, 377, 378
GuKEI, 181 HANABUSA Ircnd, 278, 330, 875, 376,
GuUKIOKU, 23 377
GuMBATEI, 357 Hanabusa Irret, 89
Gumpo, 442 HANABUSA SUGETSU, 336
Gunxal, 252 Hanasusa SUKOKU, 336
Gwa Ten, 68, 75 Hanasusa NS0SHI 336
Gwaishi, 475 Hanami no dzu, 388
Gwa-x1o Rosin Man, 354, 461 HaNnandIn, 517
Gwanzan Daishi, 83 Hanshi, 281, 346
Gwashi, 475 Handaka Sonja, 47
Gwasho, 474 Hankai, 379
Gwaitn, 449 HANKAN, 483
Hanko, 188 ©
HaAnko, 190, 207
By Hanuin OHANG Tsentv’an, 512
Hanrei, 379
Hacuipa Kosnit, 193 | Hanrinsal MINAMOTO no Moroyosui,
Hachiman, 90 1388
Hachimantaré, 304, 309, 318, 822 Hansin, 229
Hacutya Keriea, 102 Hanyfmoy, 366
Hapa no Munfémasa, 98 Hanzan, 464
Hades. See Naraka. Hanzan YAsunosu, 365
Hadésu, 391, 495 HANzAN (Matsucawa), 369
Hagersu, 267 Happi Lenzai Ten, 41
528 INDEX.

Hara Zatcnib, 194 ) Hipkiyh, 279

Hara ZaimeEt, 433 Hrpkénosv, 100, 279, 298
Hara ZAISHO, 433, 463 Hin Nean, 510
Haramitsv, 251, 258 HIIIKATA GENHETI, 462
Hare, 257 了 IITIKATA 了TORET 187
Hariti. See Kichimdjin. HIKANYEN， 187
Harvuxkawa, 331 HIKEIMEI，257
Haruxt NamMet, 164, 191, 218, 219, Hikken, 43
220, 260 HrKoset, 190
Haruki Nanxo, 218 Hikohoho démi no Mikoto, 140
Haruxrt Nanxwa, 464 Hikoshichi, 60 ，
了 ARUKI Serko, 191 Himan, 438
Harvunosy, 186, 330, 342, 344 HINRAKUSAI 266
Hastaawa CHosuun, 337 HIOBU, 183
Hastaawa SEKKO, 272, 282 了 IOHIO, 463
Hasheawa, SeTran, 331, 364 Hiouen Thsang, 222
Hasicawa SETTET 227, 365, 382, 383 Hirano Deikd, 204
Haskeawa Tost, 268 Hrrodxt, 102
HaseEn, 186 Hrrocurka, 100, 124
Hasuit, 482 Hrrorurv, 102
Hassat, 255 Hrrouisa, 126
Hassenpo, 188 Hrrokata, 103
Hasuito no Mandara, 82 Hrroxatsu, 102
Hatsunabashi Sonja, 47 Hrromasa, 102, 127
Hatsura Tasha Sonja, 46 HIRoMICHIT 101, 120, 127
Hattara Sonja, 46 Hixominh, 146
Harrort BAISHIN; 341 Hrromort, 102
Haunted Palace, 439 Hrronaaa, 103, 125, 126, 1387
Hawking, 131 Hrironao, 103
Hayamri SHUNKIOSAI, 364 Hironobu, 311
Hayasul, 343 | HirosapA, 108, 124, 125, 151, 152, 153,
Hayasur Ranea, 129 311
Hayasar TapatTomt, 207 Hirosk Junko, 450
Hayato, 279 Hirosuick, 331, 369, 384, 397
豆 EIGAN,， 430 Hrrotaka, 11, 18
He1J0 SBISAN Herven, 208 Hrroroxt, 102
Herkwat, 256 Hirotomi, 127
HeisHiv, 251 Hirorsura, 103
HeEtyeEn, 208 Hiroyasu, 102
Hfxisan, 371 Hrroyvxt, 108, 124
Henjaku, 224 了 IROZUMI, 101
HenkeEtsH0, 488, 516 Hiruko no Mikoto, 36
HI no Darnacon, 248 Hisanosu, 283, 296, 297
HIA Kwet, 486, 517 HISAYUKD 185
Hiak’ki no Yako, 136 Hisser, 443
Hiaku-fuku no dzu, 385 HIrsHIGAWA Moronosv, 329, 372, 874
Hiaku-jor6 no dzu, 385 Hishigawa Rit, 372
H1akvukoxku, 191 Hirrd Senter, 208
Hiaxuret, 434 Hryoan, 450
HraxkuseEn, 188 HG, 249
Hichobo, 58 Ho Sienku, 56
Hipfarra, 98 Hoaa, 367, 402
Hipiémasa, 279, 284 Hogen, 95, 101, 475
 INDEX. 529

HOGETsuDO, 338 Hundred Demons, 138

Hoh Tat’ung, 59 Hwang Ch’u-ping. See Késhdhei.
Hoin, 475 Hwang Hiang, 177
Horrsv, 67, 88, 405, 407, 408, 411 Hwang Ngan, 57, 326
Horrsu Hersuty, 411 Hwang Péh, 57
Hos1n, 188 Hwet Tsuna, 486, 495
Hosru. See Hosuiv. Hwut Su, 487, 495
Hoké Kis, 80 Hwang ti, 139
Hoken, 70 Hwang T’ingkien, 180
也 OKEI,， 511
HoKKEI, 367, 400
Hokkié, 198, 475
HoxKoxv, 339 I Yienxin, 485 ~
Hoxusa, 3867, 382, 386 Ibuki Yasaburd, 111
Hoxucuo, 367 IcHIGIOKUSAI YEISHUN, 304
Hoxuno Do, 371 JoHIIIUSAIT 866
Hoxvusiv, 367 IcHIKAWA TéxK1, 190
了HoKUMEI, 367 Icutmosal, 868
Hoxusat, 849, 381, 389, 398 Icntrivsatr, 347, 369
Hoxvusar Tarsumasa, 3854 TIcHITOSAI 868
HoxusaIsHI, 354 TIcHro, 418
HoxusuHl, 367, 393 Icuttn Koran, 503
Hoxvu-sHiv, 367 Icuty6sat, 348
Hoxuso-w6, 836, 367 ICHIYOSAI YosHITAkt, 383
Hoxvutn, 367 IcHrytsat, 367
HoKUYEI,， 367 IpEn, 225
Honen Shonin, 72, 74, 134, 251 Irvxiv, 163, 186
Hont, 405, 408 Igen, 177
Honnami Koyetsv, 404 IgENKITSU, 485
Horai, 224 lirsu, 181, 354
HosalyvEn, 163, 187, 505 IKAKU YEISHO, 253
Hosen, 128, 449, 506 Ikawa Kwatr4n Ersan, 402
Hosetsv, 505 Ikipa, 365
Hosuty, 283, 461 Ixfépa Koson, 405
Hosuit, 267 IEKENO Senter, 450, 454
Hosui10 (Mori), 450 Ixtno TAIGAD0, 188, 289
Hoshd, 59 IkKAN Sangin, 336
His6, 58 IKKEI, 280, 336, 378
Hosoi TERUYUKI, 345 IKKEISAI, 463
了 osoKAWA HISAYUKI, 185 Ixxro, 441
也 osoNAMI HIOHIO, 463 IkKI0, 336
Hos’su, 74 Ixx1v, 181, 219
Hotei, 27, 37, 269, 287, 296, 303 Iko, 266
Hototogisu, 480 IkosEnso, 454
Hottara Sonja, 47 ImMAMURA ZUIGAKU, 143
Hoven, 415, 419, 422, 440 ImAods1 HOGEN， 191
How Sienséng. See Gama Sennin. Imex, 189
Hozen, 196 In, 193
H6z080, 280 INAGAKI 208, 240
Hsiao She, 59 InaGakI R106, 191
Hu Kung, 58 Indra, 68, 69, 86
Hii Yeo, 212 Inno, 189
Hundred Cranes, 223 Inkada Sonja, 47
530) INDEX.
一

Inochi no Kami, 83 ‘Tyéyasu, and his Sevénteen Famous

Induyf KANBEI,:332 | Retainers, 1385 4

Ixéuy& Surrod, 190 ‘Tyéyasu, Hidétada, and Five Celebrated

Inundation, 445 Generals, 133
Inyaku, 48 Tyo no NIUD0, 20
Ipprrsusat Buncno, 344
Ippo (Hanabusa), 336, 877, 878
Ippo (Mori), 415, 419, 423
Ipposat Kunrax1, 368, 383 | Jako, 48
Isat, 370 JAKUCHIG， 189
Isé Monogatari, 114, 144 | Jakusal, 99
Isé, Shint5 shrines at, 129 Jakuyo, 101
Isrr, 279, 319 t Jashin no Benten, 87
Isen Fustwara no NaGanosu, 299 JASOKU, 181, 248.
Isew Haxvuyegn, 318 Ji Ten, 70
JSEN IN Horn YuIsHin, 272, 284, 298, JIBOKU, 279
299, 313 JIBU-NO-SHOYU, 278
Ishana Ten, 70 Jido, 57, 826
IsHIBASHI RICHO, 426 Jigoku. See Naraka,
JSHIDA GIOKUZAN, 346 Jigoku Reigan, 219
JSHIDA YUTEI, 412 Jin Kwan, 517
JSHIKAWA Izatyémon TOSHIUKI，334 JIHO GENWO, 434
JISHIKAWA KaAwsat, 192 JIHO MINAMOTO No OKO, 442
JSHIKAWA Rivsen, 337 JIKAKU DAISHI, 17
TISHIKAWA Toyonosu, 342 JIKWAN, 465
TsHIMURO SHIBUN，227 Jingd, 132, 141, 4384
TISHIN,，88, 283, 293 Jixku, 190 |
Ishiyama, 428 Jiraiya, 400
JISHIYAMA Moroxka, 103, 123 JITEKISAT, 281
TISHIZAKI Yusatthru, 459 JITO, 184
Isho, 43 Jitoku, 57, 198, 271, 293
Isopa SHopet, 344 Jiugo Doji 48
Issan Gidja, 73 Jiuichimen Kwannon, 64, 80, 92
Isszr, 310 JIUHI,， 189
Isszn, 428 | Jiuni Shi, 152
TSSENSAI Yeryo, 886 Jiuni Ten, 68, 87
Isshi, 475 Jiuroku Zenjin, 79
Issu1, 23 Jiusan Butsu, 72
IssHo, 449 JIUSHIN, 282
Issuisar Apzucut HosEn, 128 JIUSUI 342
Iraya Keri, 103 Jiyé, 84
Iraya Kutsuit, 102, 127, 128 Jizei Bosatsu, 79
Ircuo, 278, 330, 335, 375, 376, 377, 378 Jizd. See K’shitegatbha.
Itcho rit, 875 J0, 187
JIro Jaxucuit, 189 JOGA, 20
Itsukushima, 442 Jogen Fujin,.58
Itsukushima Himé, 42 JOIN, 186, 189
Irsuzan, 188 Josun, 280
Irret, 89, 336, 376 . JOKEI, 185
Iwasa Matauet, 101, 121, 331 JoKI, 266
IEKAKU YEISHO, 253 Joki, 43
Tyen, 189 JoOKo, 100
lyfrsuau, 268, 279 JOKO, 187
 INDEX. 531
JOMIO Horn, 20 Karin, 151
JORAN, 3873 Kaizan, 462
JoORIT, 419, 423 及 AKEI, 486, 517
JOROKU Dosry, 188 及 AKIZAKI HAKEI, 187
JOSAI, 128 Kakkio, 177
JOSEN, 283 Kako, 260.
JoSETSU, 160, 181 Kaxkucno, 17
Joshi, 476 Kakudaitsu, 59
JOsHIN (Kano), 278 Kaxkupo, 209
JOsHIN (Kitawo), 346 KaxkuGeEn AJARI, 20
JoSHIYEI，508 Kaxkusiu, 187
Josul, 265 Kaxunen, 450
JoTat, 19 KAKUREI, 416
JorEI, 192 Kaxkurosin Bunkwa, 210
Jov&, 181 Kaxussn, 209
JOYEN SADATORA, 224 Kaxusen Oro, 256
Joyvosur Hoxx10 Yoya, 200 KaxkusEn Toat, 239
JOZEN, 20 Kaxusnit Koxa, 101
Jir 82 KakusHun SHONIN, 20
JUKEN, 267 Kaxurtet, 187, 209
Jun, 193, 417 Kaxuwo Nicutri6, 187, 427
Junko, 450 Kaxkvyt, 156
Junpo, 189 Kaxuzan, 192
JUNYEI, 196 Kamaitachi, 169
Jurdjin, 28, 44, 237, 271, 326 Kamatari, 103
JUSAI, 898 Kamipa Bosat, 190
Jisha, 44 区 AMEDA Kaxuzan, 192
JUSSEN, 191 Kamioxa Krret, 417
Kamipé Suissat, 417
a Kan, 190, 191
Kaso, 195 Kan no Buntei, 174
Kapurakt Barker, 193 Kan Densu, 23
Kacuitsx6 (or Kwacuttsxs), 488, 505 Kan no Késo, 293
Kacuoro, 866 Kanakavajra (?), 46
Kapnora SHoaoro, 348 Kanaoka, 6, 18, 87, 159
Kapzunosu, 88, 284, 305, 318 KANAWAKA, 3
KAGAK0, 463 Kanséi, 332
Kachmasa, 466 Kanirusa, 98
Kachmura, 441 Kanhiyh, 465
Kaaen, 345, 442 Kanimocut, 3
Kaefkranh, 183 Kangtnosu, 282
KANSTAKA, 3
Kat Hoxx10, 99
Karan (or Kwara), 209 KAnGAku, 198, 440
KaiFruxkou, 462 KANHO, 482
Karean, 187
KANHOKITSU (or KwANHOKITSU), 249
Katnoxu YtsETsv, 280 Kanjin, 475
KAIHOKU Ytsuo, 279, 288 KANKAN, 483, 485-496
Kaikakubanto, 218, 222, 257 KANKEN, 188
Kaioxu, 192 Kanko, 246
Katrrit, 194 Kano Artists. See list, pp. 278-284.
Kano CHIKANOBU，296, 304
Kaisfx1, 190
KatsEn, 191 Kano CHISHIN (or Tomonosv), 306
Kasur, 442 Kano Hisanosu, 2838, 296, 297
2m 2
532 INDEX.

Kano Isutn, 316 Kano YEIHAKU, 808

Kano Kapzunosu, 88, 805, 318 Kano YEIToKu, 288
Kano Kauisen, 824 Kano YEITOKU RivusHIn, 272
Kano Kisurn, 306 Kano YosHinosv, 802, 517
Kano Kivyet, 314 Kano YoSHINOBU (or GisHIN), 302
Kano Korfnosu, 297 Kano Ytuo, 317
Kano KwaAIsHInsal, 312 Kawnrin TOrREN, 209, 259
Kano Kwansain, 304 KaAwnsetsv, 337
Kano Kwansurn (or Hrronosv), 319 Kanshin, 229
Kano Masanosv, 127, 274, 285, 323 Kansuin (or Kwansuty) Hocen, 100
Kano Mintnosu, 144 KansHid, 249
Kano Motonosv, 275, 285, 286, 287 Kanshoshi, 56
Kano Muntyosu, 296 Kawnsut, 208
Kano Nacanosu, 272, 298, 299, 313, Kansukh, 339
516 Kanrtet, 182, 262
Kano NaAonosu, 287 Kanyet, 440
Kano Norinosu, 516 Kawnyosat, 187
Kano Nuinosux& YEIGAKU，462 Kanzan, 57, 198, 271, 293
Kano Oxunosu, 146 Kanzan, 184, 434, 463
Kano OSANOBU (or SEISEN), 272, 299, Kao Tsu, 261, 293
300, 301, 517 Kappa, 170
Kano Ridsuin, 312 Kara Shishi, 323
Kano Santnosu, 516 Kari Sonja, 47
Kano SANRAKU, 288, 289, 313 Kasenko, 56
Kano SANSETSU, 289 Kasutwaat Joret, 192
Kano School, 274 Kasosat, 466
Kano SEISHIN，309 Kasuea Bussut, 4
Kano Szrsur, 311, 819, 820 及 ASUGA Mirsucuika, 97
Kano Surysxo, 303, 464 Kasuea Mrrsunaa@a, 98
Kano SHOsEN, 301, 820, 321 Kasua@a Motomrrsu, 95
Kano Sxosutn, 302, 309, 313, 316 及 ASUGA Takacuika, 98
Kano Soin, 312 用 ASUGA TAKAYOSHI, 97
Kano SHOYEI, 288 Kasue@a Tosa Gon no Kam, 99
Kano TAIGENSAI SHOSHIN, 312 Kasuea YUKIHIDE, 127
Kano TANGENSAI Moritsunh, 322 Kasuga YUKINAGA, 98
Kano Tansersal Morrrosui, 802 Kato, 102
Kano TANSETSU, 296 Katsupo, 208, 209
Kano TANSHIN, 295 KatsuGAwa SHUNCHO, 363
Kano TANSHINSAI Morrmicat, 314 Katsua@awa Suungo, 343
Kano TANYU, 289, 290, 291, 292, 313, KATSUGAWA SHUNKIOKU,: 343
316 KatsuGAWA SHUNKO, 343
Kano TATSUNOBU, 323 KATSUGAWA SHUNSEN, 364
Kano TENSHIN，316 KatsuGawA SHuUNSHO, 330, 343
Kano Térunosu, 311 KAtTsuGAWA SHUNTEI, 363
Kano Tosru, 142 KatTsuGAWA SHUNWO, 3863
Kano Toxinosu, 129, 318 KatsuGAwA SHUNYEI, 343
Kano TOsen, 298 Katsugen, 58
Kano TosHUN YoSHINOBU，303 Katsusnika Hoxusat, 354, 389
Kano Totin, 293, 317, 321, 327 KatsusHika Isat, 370
Kano Tsuntnosu, 294, 295 Katsuyu, 59
Kano Uranosuxkh, 287 KawAdat Kansetsu, 337
Kano YASUNOBU，292,， 327 - KAwamurA Bumpo, 449
Kano YEIGAKU, 808 KAWANARI OF Kupara, 3
 INDEX. H's53
-~ 一
-
LE

Kawatachi Otoko, 170 Ki no Tapayosui, 151

Kawataro, 170 Kr Yersat, 183
Kawo, 180 KIANG Lix’an, 499
Kayu no Mikoto, 86 Krane Péacuuy, 500
Kazan, 191 Kiang She, 176
Kazuma, 416 Krane Taoyin, 485
Kazunopu. See KADZUNOBU. Kiang Tszeya, 247
Kazuyuxi (or Kapzuyuxt), 23 玉 IBAITEI, 188
KerAmi, 182 KicHIBEI, 372
Kersun, 415, 417, 422, 428, 443 Kichijd Ten, 30, 45
Kerrpunkal, 4 Kichimojin, 75
Kuiea, 102 了 ID0, 180
KEIGAKU，8371 Kieh, 139
Kauicetsu, 194 Kiaioxu, 187
Kuiat, 463 KKIHO, 488, 449, 462
Kerrno, 282, 294 Kino Suicknaaa, 411
Kerno Yrtsar, 296 Kiirsu, 405, 408, 409, 411
Keri Hrronaga, 108, 125, 126 Kir, 194
Kero, 251 Kiku Jido, 57, 326
Kru. See SErwo, Krxucui Yosal, 435
了KEIKA，184 Wilin, 220
Kerxitsu, 182 Kimimaro, 5
Karon, 95, 98 Kimura Mirsuyort, 279
Kerrin, 194, 267, 434 Kimura SEIsHiku, 190
Kerriv, 212 Kin, 189
Ketsar, 182 Kin Kao. See Kinko.
KEISAI (Onishi), 193, 210, 211
了 Kixcno, 418
了 FISAI 23 KIND0, 196, 342
KEISAI MasayosHt, 331, 347 Kineuo, 503
KEISAI YEISEN, 365 KTINJOSET 463
及 EISEN， 324 KINKEI DOIIN, 183
KRISHIN，282 KINEIN (OTA) 417, 428
了 FEISHID，102，127，128 Kinko Sennin, 56, 236, 294, 312, 315,
KeisHi0 Hironosv, 311 323
Keisho, 48 Kinmocat, 9, 11, 95
KEIsHo, 266 KINNORI ZAKUREN, 419
KeIsHoxkt, 266 Kino ‘Toxt, 418
KEISHUN Hocen, 100 KINREI, 440
Kers0, 487, 495 KTINRIO, 434
Keirakv, 102 KINRIU， 279
Keri, 102 开 INRO, 188
KEIWA, 189 KTINSEID0, 194
Karizan, 211 Kinsen, 193
Kerman Mortyosut, 216 Kintapa, 9, 11, 95
Ken, 190, 449, 450 KintalsHa, 354
Kenytsat Kapzunosu, 305 Kin aro, 282
Kenzan, 404 Kintro Ama no Sutu, 212
Késa, 166 Kintoki, 410, 428
Keuh Tsz’tung, 57, 826. Kintoxu, 279
Ki, 189, 449 Kinvgt, 11
Ki no KanawaKkA, 3 Kinyoaen, 520
Kr no KANEMOCHI 3 -| Kinzanh, 216
Ki no KANETAKA, 3 KID SHUNKEI Yiuui, 283
534 INDEX.

KIO StK16, 381 Kitséx1, 282

KidAn, 461 KitsHin, 282
Ki10pen, 344 Kitsury Sxosuiy, 309, 461
Kropdin, 485 Kitsuun, 463
下 IOHo, 440 Kitsnun Serroxu, 227
KIOK0, 216 Kaitron, 282
及 IOKUKA, 193 Kitwo, 190
Kiokusui, 154 上人 IUYEI (Kano), 314
Kroxwa, 259 Kityerr (K‘iu Ying), 465, 488, 499, 512,
Kiomo, 229 5138, 517
下 ION, 185 Kityern, 182, 280, 282
KIORI OHOK0, 203 Kitzan, 282
上 IORITSUKO, 499 Kitzo, 268
Kosar, 187 Kiyotaka Hasha Sonja, 46
上 IOSAD 370, 894, 397 Kiyet, 267
Kidshi, 176 Kiyrn, 200, 417
Kioshiga, 247 Kiyo Himé, 60
了 IOSHID Kon, 222 Kryopd, 190
Ki16t, 463 Kryonaru, 338
Ki0tn, 336 Kryonara Sessuin, 281
Kidyu, 212 Kryoxar, 191
Kiet, 417 Kryoxo, 503
Kirin, 220 Kryomasu, 338
Krrosat, 343 Kiyomrtsv, 341
KISHI DOKO, 448 Kiyomort, 98
Kishimojin, 30 Kryonaca, 330, 342
下 ISHIN, 418 Kryonosu, 280, 330, 338
Kiso 玉 OTEIT 486, 495 Ktyorapa, 186
Kissrt, 387 Kiyoya Drnzo, 344
Kisui, 194, 487, 440, 464 K1iyoyosut, 131
Krra, 195 Kivu, 865
Krragawa SHUNSEI, 345 Ko. See Tiger.
Krragawa Utamaro, 345 KO StKEr, 3836, 377, 878
Kitaikimbo. See Seidbo. Koan, 57, 326
Krramura CHIUBEI, 332 Kopayasut Yonizo, 371
Kiran, 187 K6z0 DAISHI, 16 ;
Krrawo Josatn, 346 Kobu, 173
Krrawo Masanosu, 344 Kosun, 416, 461
Kirawo Masayosut, 346 Kocuit, 431, 464
Krrawo Suiafmasa, 344 Koru, 153
Kirsueu, 189 Koaea, 214
Krrsusgi, 195 Koeaxu, 416
Kitsuné Yoméiri, 214 Koeetsu, 213
K‘ru YING, 465, 488, 499, 512, 518, 517 Kogetsu, 267
Kitt, 417, 461, 463 Koh Yiu, 591
KiEbi no Kitsuné, 391 Koh Yiien, 58
Kiuch6, 175 Kohaku, 57
Kituaxu, 279, 280 KOHAKUSEN, 500
KIDHO Tore, 438 下 OHO,， 102, 280, 404
Kiso, 189 Konoaen, 275
Kiko, 187, 434 Kohégen’s dream, 301
KitK6, 434, 463 Kor, 280
Kitser SANENoBU, 516 Korn, 418
 INDEX. 585
jen SAE eee ER a eee TL an viniteieuic Cased Minennbiaaet Aah neha ear a aT a ee aa

Koirsu, 405, 408, Kostxrat, 463

Kosgima RIOSEN， 183 Kosékiko, 256
Kosi, 126 Kosrn, 516
Koka, 101 Kosensei. See Gama Sennin.
Koxan, 341 Kosrtsu, 464
Kore, 214, 416, 461 Kosuipa Morrao, 281
Koxt, 262 Kosurn, 213
Koxioxu, 72 Kosuin, 281, 288, 428
Koxtryo, 190 Kosuit, 428
Koxo, 102 KosHo, 463
Kok6, 177 Koshshei, 57, 315, 505
Koko. See Hichodbo. KOSHUNKI Mosutn, 248, 250
Koxoxu, 247 Koson, 418
Koxwasal, 208 Koson DUOIIN Kosnrsu, 464
Komat Ka, 416 Koson (Ikéda), 405
Koma Suim aro, 16 Kosurh, 331
Komatsuya, 343 Kosursat, 344
Komet, 187 Korer, 187
Komei, 245 Koteiken, 180
Komi, 186, 200 Korensal, 3389
Komio, 44 Koro, 186, 452, 453
Komio Shingon Mandara, 78 | Koro Yoxer, 308
Konpo Jivupet, 3869 Koroxwan, 448
Konpo Suxf&eoro Kiyonaru, 338 |Kody, 443
Kongé Mid Benten, 41 Koiinsai, 281
Konjin, 83 Kowtnsno, 191
Konket, 191 KO6yeEI, 433
Konron, 507 KovyeEn, 418
Konyo, 195 Kovyersv, 183, 404
Konzai, 43 Koyo, 440, 441
Konzan, 239 Koyu, 192
Koran, 194 Kozan, 214, 215
Korean ambassadors, 136 Kozan SHOTEI， 144
Korean Art, 493 K’shitegarbha, 72, 77, 81, 90, 91, 182
Korean Conquest, 141 Kii Lingjin. See Koreijin.
Korkpzumti, 128 Kuso SHUNMAN, 344
Korfuisa, 12, 88 Kubon no Mida, 63
Koreijin, 57, 325, 326 Kucuiusat Honnami Kono, 102
KortKxaath, 439 Kudoku Tennio, 42
Kortnosu, 99, 282, 284, 297 Ktrar. See Koso DAtsuHt.
Korftsuics, 11 KK, 17
Kori, 407 KuMASHIRO SHIUKO, 187
Korin School, 404 KUMASHIRO SHIUZAN, 187
Koritsat, 344 -Kumé no Sennin, 54
Korosui, 267 Kun, 187
Kosar, 182, 186 KUNAIKIYO No IN, 289
Kosan, 440 Kuncuit, 198, 448
Kost Artists. See list, pp. 11, 12. Kung Ming, 245
Kost xno KaAnAoKA. See KANAOKA. Kuneryo, 416
Kost NO Kinmocut, 10 KUNIAKI 868
Kost no Kornuisa, 88 KuNInIRO, 368
Kost, 481 KUNIEKU, 416
Kosei, 48 KunNIMARU, 348
536 INDEX.
sialic diane chstscbasicnemn tases tase iaorang Spiga fl Ns lie
Kunimasa, 348, 368 Kwazan, 19, 193, 218, 449, 456
Kounimitsu, 348 Kw’én Lun, 507
Kouytnaaa, 348 及 WoH Hz, 485, 517
Kunio Korensar, 339 Kwoh Kii, 177
Kunisapa, 348, 866, 394
Kounisuieh, 368
L.
及 UNITADA, 348
Kouniraka, 99 Lakshmi, 30, 45
及 UNITOSHI 389 Lan Ts’aiho. See Ransaikwa.
Kounirsueu, 348 Lao Lai T'sze, 175
Kounirsunk, 868 Lao Tsze, 31, 206, 510, 515
Kuntyasu, 348 Laoyii. See Rogioku.
Kountyosui, 367 Li Cueva, 485 .
及 UNKEI, 190 Li Cuune Ho, 485
KURAisHI KENZAN，192 Li Ju, 487
Kuripara Kuzo, 196 Li Luneven, 486, 495
Kurikara, 84 Li Neancaune, 486
Kurokawa Kiatoxu, 187 Li Peh. See Rihaku.
Kourikawa Santo, 450 Li Tane, 486
Kurimoro GEnto, 194 Li T’ieh-kw’ai. See ‘Vekkai.
Kuruma S83, 39 Li Tin, 486
Kushinada Himé, 402 Li Tstmy, 485
及 UsHIRO Unsen, 190 Liana Cur, 517
及 USUMI Morixaeh, 281 Lih Tsz’, 58
Kusunoki Masashigé, 389 Lin Hwoching, 212, 245, 296, 314
Kuvera, 39, 69 Lin Liane, 488, 499
了及UWAGATA SHosxin, 76 Line Yun, 503
Kwa Ten, 69 Lion, 323
Kwaboku, 380, 31 Liu Ch’én, 108
及 WAIKEI Hogen, 21 Liv Cut, 499
Kwain, 185, 417, 427 Liu Nt. See Riujo.
Kwaishi, 475 Liu Pang, 293
及 WAISHINSAI, 284, 312 Liu Pei, 217, 440
及 WAKEI, 417 Liv Tsun, 488, 513
玉 WAKKI, 485, 517 Lo Tsz’fang. See Rashibo.
Kwan Yii, 125, 205, 208, 215, 216, 230, Long-arms, 167
246, 326 Long-eared Men, 168
Kwanaetsu, 346, 442 Long-legs, 167
Kwantitsu, 253 Lotus-fibre Mandala, 82
Kwannon, 64 Low tide at Shinagawa, 382
Kwansal, 211 Lt Kz, 465, 488, 500
及 WANSETSU, 430 Lu Krar, 486
KWANSHIN, 304. Lii Ngao, 316
KWANSHIN (or HIRONOBU)， 319 Lu Shéng, 392
Kwasuinsal Haxutoxu, 260 Luh Sii, 179
Kwansu030, 19, 78, 301 Lii T’ungpin, 55, 206, 496
Kwansnosal, 461 Lii Yen, 206. See Ridtvhin.
Kwanyin, 64, 65, 80, 255, 291, 294, Lung. See Dragon.
435, 504 Lwanpa, See Ranha.
Kwanzan, 184, 190, 484, 463
KwarRAn, 344 M.
KwaTEn, 188 Ma Liane, 487
Kwaya, 483 | Ma LIN, 487
 INDEX. 537
TT
ela ht

Ma Ku. See Mako. MATSUBA SHONIN, 20

Ma Shehwang, 58, 137 MATSUBARA 人 TANRIO, 102, 281
Ma Tau, 486 MATSUDA Son, 250
Ma Yten, 486, 516 MATSUGAWA Hanzan, 369
Mapa Saxicut, 196 Matsui SHunsHo, 129
MAGATA Tarret, 191 Matsumoto Bumper, 449
MAGAWA Jitsu, 131 Matsumura GEKKEI, 415, 417, 426
Mahakala, 33 Matsumura Kerpun, 415, 417, 422,
Mahakara Daikoku Nio, 34 423, 443
Mahasthamaprapta, 66, 72, 79 MATSUYA Rosin, 182
Mahés’vara, 70 May festival decoration, 483
Maitréya, 38, 72 MEGATA SHouEr, 196
Maxi CHOKUSAI, 386 Mei Fuh. See Baifuku.
Mako, 59 MEICHO. See CHO DEnsv.
Mala, 73 MEIKIY0, 191
Man Rosin, 354 MEIsuHin, 282
Mandara, 78, 81, 82 Méng Tsung, 173, 322
Mandara no Mida, 83 Mermen, 168
Mandarin Ducks, 228 Merry Genii, 223
Mandjus’ri, 72, 200 Michi no Midya no Kami, 83
Mant, 416 MicHINnoBu, 283
Mani, 71 MIH-TSIAO WU OHTITHLT 503
Manibatsudara Hoken Daishé, 30 Mikadzuchi no Mikoto, 139
Manji. See Svastika. Mixuma Kwarten, 188
MANSHI, 251 Mixuma Rox, 417
Manzai, 376 Mimpev, 266
Mao Méng, 58 MIMBUSHOYU，278
Mao Nii, 57, 288 Min Sun, 174
Mao YIH, 486 MINAGAWA Kryen, 200, 417
Marishi Ten, 78 MINAMOTO no Ktiyoyosat, 131
Maritchi Déva. See Marishi Ten. Minamoto no Oxo, 442, 446
Maruyama OKIo, 412, 420, 421, 439, 446 Minamoto no SAKI, 439
Maruyama ORIU, 415, 462 Minamoto no Soyd, 76
Maruyama OSHIN, 415 Mintnosv, 144, 283
Maruyama Ozut, 415, 421 Ming Hwang, 216
Masauira, 128 MINZAN, 188, 191
Masaxonl, 182 Mion Tennio, 42
Masamocuat, 217 Mio on Ten, 41
Masamunt, 12 MIOTAKU。 See Mryoraxu.
Masanosu (Kano), 127, 274, 285 Midto Séki, 320
MASANOBU (Okumura), 338 Miroku Bosatsu, 88, 72
Masanosu (Kitawo), 344 Mirror, 70
Masanosu (or SHOsEN), 301, 323 MITSUAKI 99, 101
Masasuxkh, 279 MirtsvAtsv, 102, 103, 1238, 153
Masataka, 3834 MITSUBUMI,， 103
Masatsuau, 100, 194 MirsucuiKa, 95, 100, 246
Masayosut, 347 (Keisai), 331 Mrrsunipi, 99
Masayosut, 466 MITSUHIROo,， 100
Masayuki, 217 MITSUKATSU，101
Masunosu, 282 Mitsuxtyo, 108, 463
MASUYAMA Szssal, 433 MITSUKUNI, 100
Marauel, 101, 121, 331 Mirsumasa, 279
Marora, 368 Mirsumasu, 101
5388 INDEX.

MITSUMOCHI Kerrso, 100 Mort Sosren. See Sosen.

Mrrsumoro, 101 Mort Trssan, 427, 428 .
Mitsunaaa, 98, 99, 139 Moripzumt, 309
Mirsunart, 101, 120 Morturro, 808
Mirsunosu, 96, 100, 279 Morikxaeh, 278, 281
Mirsunort, 101, 280 MoRIKUNI 278, 281, 331, 339
Mrirsv6xt, 96, 101, 122, 123 Morimasa, 281, 295
Mirsusapa, 96, 102, 129, 374 MoRIMICHI 282, 284, 314
Mitsusuiek, 96, 100, 101, 150 Morinao, 281
Mitsusukh, 102, 122 Morinosy, 280, 289
Mitsusvyfs,.100 Mortsapa, 281
MirsutTox1, 102 MoRISADA SHINNO, 98
Mirsursuau, 101 Morirama, 807, 823
Mirsuyasvu, 12 Morirank, 324
Mrrsvuyort, 279 MoriraKa, 307
Mrrsvyosut, 96, 102, 122, 187, 463 MoRITOSHI 802
MITSUYUKI, 462 Moritsuxk, 308, 322
Mirsuzumt, 101 . Mortryosut, 183, 216, 307,310
Miyagawa OHOKT 158 Morizanh, 284, 323
MIYAGAWA OHOSHUN, 337, 873 Mororusa, 334
Miyamoto Musasut, 200 Moroxa, 102, 182
Miyazaki Inno, 189 MoronaGa, 334
Miyazawa BUYETSU, 450 Moronosu, 829, 372, 374
Miyoraxu, 180 Morosuief, 834
Miwa, 441 Mosern, 193
MI Y1uaen, 487 Mosain, 248, 250
MI Ytencuane, 487, 498 Mos6, 173
Mizono CuitKan, 189 Moromrrsv, 95
MocHIDpzUKI Groxusen, 449 Moronosu, 275, 285, 286, 287
MocHIDZUKI Kansuxh, 839 Mororapa, 279
Mouski, 332 Moroyosut, 188 ~
Mojo Sennin, 57, 288 MoxtKT 486
MoOKKEI 486, 497, 517 Mosat, 463
Mox10, 398 MUBoKU,， 871
Mox10, 187 Miidéra, bell of, 118
Moxoxt, 463 Mugé Hojiu Gem, 108, 155
Moxvay, 186, 510 Mueen Rosy, 419
Moxvea, 218 Muu Kz, 486, 497, 517
Moxuty, 188 Moi, 416
MoKUSEI, 417 Mouxfrouxv, 12
Moxvyo, 217 Monéuivk, 279
Momoxawa, 218 Muntuisa, 12
Momotaré, 387 Munimasa, 98 ，
Momv SHINITSU, 409 Mouniyiwa, 84
Monpo DANSAI, 414 Mouninosu, 296
Monkey, 2138, 480 Munisukh, 278
Mononofuno Michi On no Mikoto, 140 Mounfyosut, 11
Mori Hostu, 450 Mura TOKIU, 450
Mort Ippo, 423, 424 MURUKAMI Sxopo, 449
Morr Issrn, 428 MURAKAMI TOSHIU, 419
Morr RANSAT 187 - Murasaki Shikibu, 307
Mort SHIUSEN, 427 Murata SHUNPEI, 417
Mort SHUNKEI, 364: Murata Sonaku, 229
 INDEX. 539

MURIO, 218 NanseEr, 464

Musashi no dzu, 123 NANSEN, 307
Mis5-w5, 336 NANTEI 239, 416
Mythical Zoology, 166 NANKOKU, 250
Nanzan, 221
Naodxira, 246
N. Naoxach, 198
Naonosv, 276, 278, 281, 287
Naga Radja, 50, 88 Naorérev, 151
NAGAAKI, 99 Naotomo, 267
NaGadri, 12 Naoy& Toxuraro, 371
NAGAHARU, 99 Naoyosui, 102
NaaGauiph, 306 Nara Hoaen, 182
NaAGAMACHI CHIKUSEKI, 190 Naraka, 57, 76, 78, 85, 91, 92, 394
NaaGamitsu, 278 NARIAKI, 419
NAGANOBU， 272,.279, 284, 298, 299, Narimitsu, 98
313, 516 Naruto, 192
Nagasawa RosETSU, 415 Néhan no Shaka, 62
NAGASAWA Rosuit, 416, 429 Nei Issan, 73
Nagasena, 47 Neiséki, 205
Nagataka, 20, 99, 143 NEN Kawo, i60
NaaGato-nosukh, 449 Nean Hwut, 465, 487, 496
NAGAWO MUBOKU,， 871 Ni Gawa Biaki-do, 80
Nair’rita, 69 NiO. See Temple Guardians.
NAIZEN, 280 Ni Ten, 69, 75
NAKABAYASHI CutkuTo, 190 NICHIREN SHONIN 20
Nakamura TETSUGAI, 419, 427, 442 NICHIRIO,， 427
Nakano Ri0pEy, 190 NIKWAN, 465, 517
Nakai Ranko, 419 Nine Gods of Good Fortune, 393
Naxaizmn, 188 Nine tailed Fox, 391
Nakamura Tetsu@al, 442 Nine States of Death, 87
Nakasaina Sonja, 47 Ning Chi, 205
Nakula (?), 47 Ninigi no Mikoto, 70
Nami no Chidori, 3801 Nio-i, 66
NAMMEI, 191, 218, 219, 220, 260 Nid-i hojiu, 71
Nanashi no Kiji, 139 Nirvana of S’Akyamuni, 67, 68, 495
NANGAKU, 416 NISHIGAWA Suxtnosu, 278, 330, 339
NANGEN, 220 NISHIGAWA Uxtyo. See NISHIGAWA
Nanka no yumé, 393 SUKENOBU.
NANKAI 188 Nisuixunt, 3865
NANKEI, 220, 461 NISHIMURA Cuitwa, 346
NanxEt, 190 Nisuimura NANKEI 190
Nawnxo, 218 NISHIMURA Nantet, 416
NANKOKU,，250 NISHIMURA SHIGENAGA, 338
Nanxwa, 464 NISHINA Kinsen, 193
NANKWA SHOSHI, 221 NITTO Sonro, 184
Nankwa Sorrsu, 211 Niwa TOKEI 364
Nan’pine OH'ANSIEN，502 No, 187
NANPO, 417 No no Mrya, 184
NANREXSAI 885 N6 properties, 138
NANRET 193, 417, 440 No performers, 244
Nanri, 1 . NoAmr, 182
Nawro, 220 NoBUHARU, LOL, 185
540 INDEX.

NOoBUKA, 336, 376 OKUMURA MASANOBU，3838

NoBUKATSU, 836, 376 Oxunosu, 146
Nosumasa, 280 Oxura Rrrsuzayn, 191
NoBUSADA, 98 Oxura Kryo, 21
Nosusuiek, 11 OmerH0 (or OmerB5), 463
Nosutst, 272 Or, 132
Nosvyosut, 37 Onamuji no Mikoto, 82
NoBUYUKI,， 282 Onko, 93
NOoBUZANE, 95, 99,127 | Ono no Komachi, 121, 128, 127
Nova TOMIN Fustwara no YoSHITOSHI，| ONO no S0g0, 156
444 Ono no TAKAMURA, 3
No no Miva, 184 ONISHI KEISAI, 164, 193, 210, 211
Norrnosv, 319, 516 OdKA No Imixq, 1
Noro Rrvunen, 190 OUKA SHUNBOKU, 283, 331, 341
Nuinosuxh, 281 Orchestra, the Imperial, 131
NUKINA KAIOKU, 192 ORIi, 415, 462
Numata Gussai, 365 OritHon, 488, 499
Nuyé, 169, 389 Osanost, 272, 284, 299, 800, 517
OsEn, 486, 495
Oshikis, 57, 315
9. Osuma FUY0, 189
O Genroxu, 338 Oshitsu, 107
O kuni nushi no Kami, 35 Osun, 415
Osa KoREKAGE， 439 Osho, 59
Ogaki, the Battle of, 136 Osud, 175
OGATA Kori, 404, 407 Osd Sansetsu, 225
OGATA ArvEN, 259 Osui, 177
Oaawa Ritsu-wo6, 283 ~ Ora HIAKUKOKU， 191
Ocenmiy, 501 Ora Kinxin, 417, 428
Oaisur, 314 OTAGIRI TADACHIKA, 370
Ogura TOKEI, 187 OroKasHI, 16
Oguri Soran, 181 ey Otsu yé, 372
Oguri Soritsu, 181 Otsugo, 44
(OHARA Tova, 365, 366 OrsuKo, 463
Oxo, 405 Ozut, 415, 421
Oi, 483, 485
Oinosuxh, 274, 275
Oisut Matora, 368 P.
Ojikara Daikoku, 34
Ojin, 90, 141 Padma, 45
Osru, 415 Panthaka, 47, 210
OKA ToYoHIKo, 4388 Paradise, 78, 92
Oxa Yorar, 192 Paradise in the West, 90
Oxapa Betsansin, 190 Paragons of Filial Piety, 327
OKADA Hanko, 190 Pasa, 79
OKADA Kanrin, 193, 209 Péh Hu, 51
Okamé, 436 Péh I and Shuh T's’i, 285
OKAMOTO 了 OKEN, 418, 488 Pa LICHANG， 518
OKIN, 192 People of all Nations, 460
Okina, 244 P’éng Tsung. See Hoso.
Oxo, 412, 415, 420, 421, 489, 446 Perforated men, 167
OKO, 221, 370, 442, 446 '| Perils of earthly life, 214
Oxuso SHIBUTSU，192 Pheenixes, 249
 INDEX. 541
中

Pindola Bhadradvaja (?), 46 Resshi, 58

Prien Kinecuao, 488, 516 RIANCHIU, 486
Pien Ts’iao, 224 Risun, 190
Pigeon, 292 Ricaitwa, 185
Plumflower revelry, 202 | Ricwo, 426
Poets, Six Famous, 144 RicHosuit, 427
Poets, hirty-six Famous, 145 Rihaku, 59, 824, 325
Popular School, 328 Riki, 332
Portrait of a Priest, 74, 92 RIKEI, 189
Prabha Mantra Mandala. See Komio RIKIO; 199, 200
Shingon Mandara. RrKoRIN, 486
Préta, 85 RIKUJI, 499
Prit’ivi. See Ji Ten. Rikuzoku, 179
Pure Land of the West, 83 RINKEN Hoge, 101
RINKIO, 185
Rinnasei, 212, 314
RINRIO, 488, 499
Quail, 135 RINSAI，222
了 INSEI，222
RINSHIN，222，312
卫: RINSHOAN，3836
Racoon-faced dog, 169 Rinzan, 400
Raigon no Mida, 74 R10, 187
Raiko, and the Shiuten Doji, 146 Rio. See Dragon.
了 AISHIN，354 Roan, 183
了
RAISHO, 417, 484, 463 RIOBIN, 183
Rakan. See Arhat. RiopEn, 190
Rakora Sonja, 47 Rioru, 185, 267
RanvpeEx, 188 Rioaa, 99
Rane@a, 129 RIOcEN, 463
Ranha, 59 R1050, 279
RANHOKEN, 181 RiOK AI, 267, 486, 517
Ranko, 195, 419, 429 RIOKEI,， 198
Rawsat (Fujii), 365 Rr0K1, 185, 465, 488, 500
Ransat Hoxuso, 367 RIOsEN, 464
Rawsat (Mori), 187 Rrosetsu, 440
Ransaikwa, 56 RIOsHI,， 280
Ransen Morrareo, 308 RIosHIN, 282, 312
了 ANSETSU, 463 Rrosmiv, 251, 462
RANSUT 250 Ri0sHo, 284
RANTEI, 431 RIOTAI 187
Rantoxusal, 3438, 421 Ridtohin, 55, 206, 496
Ranvgo, 250 Rion, 508
Rasatsu Ten, 69 RIOYEN Hoxx10, 21
Rashibo, 59 Ri0zEN Hoi, 21
Ratna Sambhava, 81 Rrozon, 100
REIsEN, 182 Rip Van Winkle (Japanese and Chinese),
REIsHI0, 222 107
Retyo, 230 RIRIDMIN，486, 495
Reizet, 19 Riser, 485
ReEizey, 8 RISEKI，184
Rexzan GANTOKU, 222, 449, 454 Rishi, 53
ReNZAN Josut, 463 Rishi with banana leaf, 315
542 INDEX.
en ee eet ey eT) eee ee es ee eee ee eee

RISHIN， 282 SADANOBU, 279, 280, 305

Risuo, 191 SaDATORA, 224
RissH0, 398 SaDATosuHI, 342
Risu, 487 SaDAYOSHI, 317
Ritaihaku. See Rihaku. Saddharma Pundarika. See Hoké Kis.
RirféK1, 486 Sar, 187
Rrro, 486 SarAn, 185
Rirsu-w, 283 SAIBI, 416
Rirzuzan, 223, 463 Saigid Hoshi, 295
Ritibi. See Gentoku. SAIHAKU, 267
Ritidzu Kwannon, 65 Saijun, 178
RivedKa, 223 SAIKEI, 223
Ritwa, 182 SAIKIORIO YUSET 480
Riiijo, 57 SAIKO, 194
RivxK10, 198 Saikoku, 44
RitKo, 251 SAIRIYO, 190
RidKOKUDEN SHIGKAKTI, 223 SarshK1, 258
RIDNEN, 190 Saishi, 176
RIDRIKIO, 162, 186, 199, 200 SAISHO, 463
RitsEen, 337 Saishd Hoshi, 112
Ritsu, 272, 312 Saito, 354 :
Rivsuiv, 180 SAITO YEIHAKU, 308
Ritsuun, 488, 513 Saiwai no Kami, 83
Ritdran, 182 Sarwo, 23
Rito, 184 SAITYEN Hosa, 505
River festival at Nagoya, 374 SAIZAN, 225
RIYEI 268 Saji, 59
Rryo, 191 SAKURAI SHIUZAN, 227, 241, 331, 341 2
Rryotn SANJIN OK6, 221 518
RizEn, 485 SAKUSEN, 267
Roe, 445 Sakra Déva, See Taishaku Ten.
Rogioku, 59, 209, 322 . S’akyamuni, 61, 67, 72, 86, 88, 139
Rouo, 463 Saékyamuni Trinity, 63, 79, 89
Rojin, 476 Samantabhadra, 72, 81, 290, 408
Rosrysat, 342 Sambas6, 244
RoOkid, 108 Sambo Kojin, 82
Rok6, 316 Sambu Kid, 67
Roxo, 417 San no Nijiu-i Sha, 84
Rokurokubi, 170 Sandzugawa no Baba, 77
Roxuso, 376 SANENOBU, 370, 516
Roraishi, 175 Sanjin, 475
Roren, 864 Sanjiuban Jin, 72
Rosan, 235 Sanjiurok’ Kasen, 302
Rosei, 392 Sankan, 232
Rosersu, 415 SANKEI, 146, 223
Roshi, 56 SANKITSU, 195
Rosuit, 416, 429 Sank1yo, 190
Rosuo, 184 Sankoku, 180
Sankosal, 251
Sanmen Daikoku, 34
SANRAKU, 276, 279, 288, 289, 313
SADAHIDE, 368 SANRIu, 185
SADAOKA, 370 SANSEI, 281
 INDEX. 543

SANSETSU (Kano), 276, 280, 289 SersHiv, 251

SANSETZU (Oso), 225 SEIsHO, 190, 251
Sansuin, 239 Seishdnagon, 303
Santéki, 475 Setsur, 311, 319
Sano, 450 SEisur YOrO, 320
Sanyimon, 343 SErro, 186
Sany0, 43 SEITOKU, 227
Sanz5 Hoshi, 222 SELWAGETSU, 517
Sarasvati, 41 SEIyu, 186
Sarudahiko Daijin, 82 Sixt, 192
SasavyamMa, 225 Séxr Suunsugh, 342
Sasugh, 344 Sékihéki no Dzau, 241, 254
SavTakh YEIKAT, 194, 223, 252, 260 SEKIKOKU, 185
SATO GrENNAI, 196 Sékion, 43
SAYEMON SHOSHIN， 280 SEKISAI, 188
Semonsade nw EU 8 Sexisut, 193
Ser, 193 _ | Sexisur YENKo, 227
SErAN, 184 SEKITEN, 250
SEIBIN, 416 SEKIYEN, 278
Seidzu Kwannon, 65, 291 SEKKEI, 187, 227
Sema,. 183 SEKKO, 268
SETIirsU 227, 229, 249 SEKKO (Haségawa), 272, 282
Serra, 462 Sémui, 44
SEIKAKEN, 196 Sen, 186, 191
SEIKEI, 518 Sen SHuNKIO, 517
SEIKI, 417, 463 Senan, 194
SEIKIN Kost, 488, 501 Senjiu Kwannon, 64
SEIKO, 190 SENKA， 184
Serko (Haruki), 191 SENKWADEN, 517
Srixon, 186 Sennin. See Rishi.
Serer, 291 , SENPo, 480
SeIMIN, 225 SENREI, 414
Sermo, 267 SENsAI, 461
Shin, 193 SENSAI YEITAKD, 371
Serniy, 100 Sensha, 44
Seidbo, 56, 221 SENSHINTO, 188
Seidbo no Shiji, 56, 443 SENsHIU, 225, 416
SEIRI0, 207, 266, 462 SENTEI, 208, 450
SEISAI, 194 SENZATI, 256
Seiser Kirrsu, 408, 409, 411 SENZAN SHOsuru, 410
SEISEIDO, 404 RSEPP0, 225
SISEI Honr YOSHIN, 408 Sussar (Masuyama), 433
SISEIT Korry, 407 Srssal (Minagawa), 417
SPISEI Suiditsu, 410 Srssan, 247
SEIsEN (Uwabayashi), 398 SESSHIN, 268, 281, 809
Seisen HoceEn, 284, 299, 300 SEssHi, 264, 269, 272, 273, 465
SeIsEN IN Hory, 301 Sesshiti School, 263
SEISEN YOsHIN, 272 Srssuo, 194
SEISETSUSAI, 306 Sxsso, 185, 270, 464, 519
Seishi, 379 Sesson, 265, 465
SEIsHIKu, 190 . | Strarsu, 193
SEISHIN, 280 Srersupo, 185
SEISHIN (Kano), 309 Sersupd, 461
 544 INDEX.

SETSUHO (or Seppo), 463 | Suicknosu, 279-282, 368

SETSURIN, 268 SHIGEYOSHI, 280
SETSUZAN, 247 SHIHO, 187, 1938, 416
SETTAN, 226, 331, 364 Shihte. See Jitoku.
SETTO, 267 SHIJIIN, 189 4
SETTEI (Haségawa), 227, 266, 364, 382, SHIJIU, 194
383 SHIIO, 189
SETTEI (Shdsai), 250 Shijd School, 412
SeTrer Naodxira, 246 SHIKAN, 196
SETTEI Sorrsu, 221 Shiken, 174
SETTO, 465 SHIKEN Sarpo, 182
Seven Calamities, 444 SHIKIO, 417
Seven Gods of Good Fortune. See SHIKIU, 431
Shichifukujin. SHIKO, 449
Seven Poets, 215 SHIKO Sorry, 193, 228, 240, 248
Seven Worthies of the Bamboo Grove, SHIKIORIN, 508
231, 299, 311 SHIKUYA, 189
Sua Buson, 188 Shikotei, 129
SHABAKU, 184 SHIMADA, 102
Shachiusho, 58 SHIMADA GENCHOKU, 415
SHAJISHIN, 488 SHIMEI, 193
Shaka Niorai, 63 SHIMEI TENDO DAI-ICHI-ZA Sxssniv,
Shakujé, 73 270, 273
Shang Yiien Fujén. See Jogen Fujin. SHIMIDSU Hansuxh, 194
Shankien, 232 SHIMIDSU KioxuKa, 193
Shantao, 72, 74 SHIMOKAWABE JIusUI, 342
SHARAKU, 345 Suimipsu Temmrn, 450, 455
She Hwangti, 129 Shin no Shik6, 129
Shén Nung, 200, 289 SHINANKIN SHisHo, 502
Sui, 190 SHINBUN, 322
SuHrAn, 193 SHINGEI, 182
SHIBA GOKAN, 344, 457 SHINGEN, 186
SHIBA Kansuty, 100 SHINGETSU, 188
SHIBA KeisHun, 100 SHININ， 461
- Surpa RrvKen, 100 SHINITSU, 409
SHIBA SonKal, 100 SHINKI, 1
SHIBATA GTHO, 418 SHINNO, 182
SHIBATA ZESHIN，487,， 4389 Shinretsu and Bunsho, 58
SHIBATA Giro, 418 SHINSAI, 17, 367, 433
Surpun, 227, 418 SHINSEI Iser, 319
Suipursu, 192 Shinshi, See Crystal.
Shichifukujin, 27, 122, 128, 131, 209, SHinsHO, 279, 303, 3818, 464
244, 261, 305, 807, 385 SHINSHO ISHIN,， 316
Shichihiyakusai, 39 Surnso, 182, 185
Shichikenjin, 311 Shintd Shrines, 440, 442
SHID0, 449 SHINYEN, 188
Shidzuka, 166 SHINYETSU, 186
SHIFUKU, 191 SHINZ0, 419
SHIGHAKI, 223 Shié, 175
SHIGEMARO, 246 SHION, 416
Suicimasa, 344 SHIRAFU, 16
SHIGEN, 416, 418 SHIRAKAMI SAISAI, 192
SHIGhNAGA, 388, 411 SHIRIO, 449
 INDEX. 545

Suro, 190 SHIYEI, 449

SHIROJIRO，275 Suriyu, 190
Shironushi no Mikoto, 139 Suzan, 187, 189, 266, 440, 520
SHISAT, 416 SHIZEN, 449
SHISEIDO, 192 SHoAn, 185
SHISHIN, 198 SHOBEI, 338, 344
SHISHIN, 417 SHocuo, 503
SHISHIU, 512 SHOpO, 449
SHISHOi 502, 510 SHOGAKU, 440
SHISO, 417 SHOaA, 95, 98
SHIssar (Kamibé), 417 Shogaku no Shaka, 62
SHITOMI Kwancetsu, 346 SHOGEN, 187
Shitsugetsu, 43 SHOT 102
Surv, 190 SH0J0 (Soca), 181 —
Shiubaka Sonja, 47 S050 (TakimoToso), 280
SHIDBUN，161, 181, 197, 465 Shojo, 208
Su1vGEn, 268 Shojo, 48
SHITGEN Sapanosu, 305 SHOKAIZAN, 518
SHiveaetsu, 265, 270 SHOKAKU, 189
SHIDGo, 181 SHOKATSUKAN, 187
SHIDHO, 415, 418, 426 Shokatsurid, 245
Suivi, 181 SHOKEI, 100, 184, 266, 462
Suivitsu, 405, 410 Shoki. See Chung Kwei.
Shitjin, 475 SHOKI, 184
Suidsows6, 190 SHOKIO, 261
Shitjushs, 178 SHOoKo, 195
SHITKEI, 268 SHOKOKU, 461
SHIUKI, 164, 191, 227, 265 SHOKOsAI HANBEI 346
SHIOKO, 183 SHOKWA, 461
SHIUKO, 187, 195, 266 SHOKWADO, 280
SHivRAN, 463 Shdmis, 44
SaIUREI, 416 SHoRAN, 450
SHIURI， 280 SHOREI, 190
SHIUSEN, 427 Shoriken, 55, 285, 496
Surusetsu, 185 SHosano, 344
SHITSHIBEN, 488 SHOSAI SETTEI, 250
SHIUSHIN (Kano), 283 SHOsEN, 284, 301, 311, 320, 321
SHIDSHIN (Mori), 416 SHOsEN (Soca), 181
SHIEGTmAKU,， 180 Shoshi, 59
SHIUTEI YosHo, 505 SHOsHI, 221
Shiuten Doji 60, 111, 137, 146 SHOsHIN (Kano), 282, 302, 309, 312,
SHIuTAKU, 180 316
SHivTOKU, 180, 266 SHOSHIN (Kuwagata), 76
SHITYETSU, 185 SHOsHIO, 410
Suivy6, 266 SHOsSHOTO Kachmura, 441
SHIGZAN (Joshi), 194, 227, 241 SHorer, 144
Sui0zan (Hogen), 194, 331, 341 SHOTO, 228
SHIDZAN (Kumashiro), 187 SHOTOKTU Tatsur, 16, 40, 86, 184, 1384
SHIGzAN (Yoshimura), 278, 283 SHou, 463
SHIWoGAWA Bunrin, 450, 455 SHOUN, 3812
Surwogawa UNSHO, 418 Suow0, 465
Shiwo Gawa no Kami, 83 SHOW), 186
Shiyei, 57 SHOYEI (Kano), 276, 278, 288
2N
546 INDEX.

SHOYEI (Suwa), 131 Shusen, 44

SHOYEKI，279 Suuson, 194
SHEOY0, 266 Shussan no Shaka, 62
SHOYUSATI, 418 Si Wang Mu, 221, 238, 256, 258, 375
ASHOzAN，240 507, 508, 510, 518
SHOZAN (Kano), 318 SIANG LANGLAI 498
Shubaishin, 315 Sickle weasel, 169
SHUCHODO, 196 Sieh Chungchu. See Shachiu sho.
Suvirsu, 410 SIEHSHE SzEcHUNG, 488
SHUKUGA， 418 Signs of the Zodiac, 308, 435
SHUKUKWA, 196 SIKIN Kiiszz, 488, 501
SHUKUMEI, 193 Si She, 379
Suums, 281 Siu Szryine, 503
SHuMMEI, 189 Suran, 250
Shumdshiku, 295, 326 Siva. See Ishana Ten.
SHUN, 178, 449 Sixteen Arhats, 46, 88
Saun Ki, 488 Sixteen Bédhisattvas, 81
SHUNBOKU, 283, 831, 341 Sixteen Good Spirits, 79
SHUNCHO, 363 SITYDEN Feénetsz’, 505
SHuUNcHOsSAI, 331, 346 Slaughter of the Nuyé, 389
SHUND0, 343 SOAMI, 182, 198
SHunGAKu, 256 Socur, 280
SHUNHO, 440 Socuin, 278
SHUNSIU, 283 Sono, 411
SHuNIO, 843 Sopzu CHINKAT, 20
SHUNKET, 195, 364 Sodzugawa no Uba. See Sandzugawa
SHunkIn, 191 no Baba.
SHUNKIO, 127, 488, 518 Sdfu, 212
SHuNKIO, 417 SoruTsuKO, 482
SHUNKIOSAI, 864 Soca CHoxuAn, 181
SHUNKIOKU, 843 Soga brothers, 884
Suunko, 348, 440 Soea Jasoxu, 181, 248
SHUNKO THE SEconpD, 364 Soga no Goro, 383
SHUNKU, 127, 518 SocA Suisun, 181
Suunman, 3438, 344 SocA SuHosEn, 181
SHUNPEI, 417 Soea Soz0, 181
Suunri0, 68 Soga Soro, 181
SHuNRO, 849, 854, 449 Sona, 279
SHunsal, 196, 289 SOHAN, 463
SHUNSEI, 188, 345 SOHAKU, 229, 267
SHUNSEN, 138, 364 SOHEKIMON In, 99
SHUNSENSAI, 366 Sohinda Sonja, 46
SHUNSETSU, 280, 282 Sorrsu, 211, 221
SHUNSHO (Kano), 282 Sos, 184
SHUNSHO (Matsui), 129 $050, 181
SHUNSHO (Katsugawa), 330, 543 S070 Yusrn, 267
SHUNSUI, 282 Sosun, 416, 486
SHUNTET, 863 Sosun, 23
SHunTo, 189 SoOKwan, 184
Suunto, 433 SoxEn, 9, 11, 102
Suunwo, 863 Sdkokukiu, 55
SHUNYEI, 3438 SoKUBAI, 267
SHUSHO, 418 Soxuyo, 282
 INDEX. 547

Soma Déva. See Gwa Ten. Surran, 253

Soman, 185 SuIREI, 462
Sonchi, 12 NSUIRI, 463
Sonjin, 475 Surwo, 463
SonKk al, 100 Sus0 HIAKUSEN， 188
Sonro, 184 SUKECHIKA, 267
Sonsal, 224: Stet, 151, 336, 377
Sontd, 59 Suxéaipk, 128
Sora, 230 SuKkEKIy0, 274, 283
Sort THE Second, 349, 354 SuKénosu, 278, 330, 339
Sorry, 164, 198, 228, 240, 248 SuUKENOSHIN, 336
Sorrrsu, 181 Suxtyasu, 100
SOSAT 267 Sukhavati, 88, 90, 92
Sdsan, 175 STKIO, 3881
SOshKI, 260 StKoxv, 336
SdsEN, 279, 280, 283 Sukunabikona no Mikoto, 82
Sosen, 415, 418, 424, 425, 426 Sumida River, 314, 382
SdsHa, 241, 485 Sumiyé Buzen, 189, 239
SdOsHIGAN, 187 Sumiyoshi and Takasago, 319
SOSHIKO, 193 Sumiyoshi Monogatari, 115, 187
SosHin, 280 SUMIYOSHI Hrroxata, 103
SOsHIsEKI, 187 SUMIYOSHI Hrromicat, 101, 120
Sdsurvu, 279 SUMIYOSHI Hrromort, 102
SosH6, 228 Sumiyosut Hrronaea, 103, 137
S635, 880 SUMIYOSHI Hrronao, 103
Soso, 184 Sumryosut Hrrosapa, 124, 151, 152, 153
Soran, 181 SUMIYOSHI Hrrorsura, 103
Sorarsu, 102 SUMIYOSHI Hrroyasu, 102
Soro, 184 SUMIYOSHI Hiroyuki, 103, 124
Sova, 268 SUMIYOSHI Hrrozumt, 101
NOYEN， 265 Sumiyosut Hoasn, 95, 98
Soro, 185 SUMIYOSHI Hoxxi0, 144
Soyo (Soga), 181 Sun Goddess, 398, 437
Soyo (Minamoto), 76 Sun Téng. See Sont.
Soyt, 279 Stirya Déva. See Ni Ten.
Spider Devil, 60 Susans, 70
Spiritual God of the Three Treasures. Susano no Mikoto, 401
Squirrels and vine, 228 Suse, 241, 294, 325, 465, 485, 517
Stomachless men, 167 Sisur, 336
Storm, 445 Suwa SNHOYEI, 131
S’ubhaka, 47, 66 Suya Hersruro, 339
Suren-Horien, 517 SuyEénosu, 283
Sugawara No MrrsusapA, 374 Suytyort, 278
Sugawara No Micuizanb. See Kwan- Suzuki Nawnret, 193, 417, 440
SHOJO. Suzuki Harunosv, 330, 342
Stenrsu, 336 Svastika, 75
Sueimura JIHEI Masataka, 334 Swift-flying demon, 235
Suao, 465 Sword, 70
Sui Ten, 70, 77 Sze I. See SHISHO.
SurAn, 194, 250, 517 Szema Kwang, 166
Suicawo, 193
SuicErsu, 267
ASUIKEI, 415
548 INDEX.

4让 工 AKANOBU, 95, 98, 279

Ta Ki, 391 Takaramono, 88
Ta Yang-tsz’, 54 Takasago and Sumiyoshi, the Ancients
Tacut Krtzo, 195 of, 152
TACHIBANA BENdI 339 TAKASUKK, 99
TACHIBANA YUYETSU, 339 Takata 开 EIHO,， 282, 294
Tacuipana Morikxuni, 278, 281, 331, TAKAYOSHI, 97, 464
339 Taxtpa HARUNOBU (or Surncen), 186,
TACHIBANA SHUNTO, 433 309 ;
TACHIBANA SdséK1, 260 Tak&KUNI, 1382
Tacurpana Unea, 871 Takénoiichi no Sukuné, 141, 132
Tacuisi Komaro, 16 TAKENOUCHI SHoran, 450
TADACHIKA, 370 Takhyasvu, 419
TADAHIRA, 9 TAKEZAWA Krosut, 371
TADANOBU, 284 TAKIMOTOBO SHOJG, 280
TADATOMI, 207 TakrImoToBO JosuN, 280
'TADAYOSHI, 151 Takubo, 23
TAGA CHOHACHIRO, 336 TAKEUD0 (Gantai), 448
TaGa CHOKO, 335 Takuma OHOGA,， 98
Tai Chén Wang Fujén. See Seidbo no Takuma JOKo, 100
Shiji. Takuma Ride, 99
TAI Kiomo, 229 Takuma Ridzon, 100
T'ars0 SErKoN, 186 Takuma SHOGA, 98
TAICHI SANKA Katsuin, 442 Takuma SHOKEr, 100
TAIGAD0, 163, 191, 239 Takuma TAMEHISA, 98
TAIGAKU, 254 Takuma Tamar, 97
TaIGan, 192 Taxouma TAMETO, 98
TAIKEI, 189 Takuma Tambisst, 95, 97
TAIK10MO, 229 Takuma TAMEYUKI 99
TAIKIU, 462 Takuma YezIca, 100
Taikobo, 247 Takum, 280
Tailed Men, 167 Tama, 459
TAIRA NO Kryomort, 98 Tama. See Gioku.
Tatra Soin, 87 Tamagawa no Dzu, 407
工 AIREI, 191 TAMATAKA, 88
TAIRINSAI GENCHI, 206 Tambl, 154
Taisan Roshi. See Lao-Tsze. Tamfuisa, 95, 98
TAISAN 'l'ANSEIITSU, 229 Tamiicat, 354
Taishaku Ten, 68, 70, 86 TAMENARI, 97
TAISHI YIURIOSAI Mort Suivsen, 427 Taminosu, 100
Taishin O Fujin. See Seidbo no Shiji. Tamnro, 95, 98
TatsHo, 189 Tamitsuau, 99
TaisHun, 279 TamitsunA, 1387
Tatyo, 417 Tambtsi, 95, 97
Taiydshi, 54 TAMELYUKI, 99
Taxa Koxoxu, 247 Tamon Ten. See Bishamon Ten.
TAKACHIKA, 89, 95, 98 Tanast Bunk, 196
Taxaai Kosuxh, 331 ''anan, 183
TAKAHARA SHuNcHOsAI, 831, 346 TancHo, 388
TAKAKANE, 99 Tanfnaaa, 280
TaKaMITSsU, 99, 127 Tantnosu, 279, 282
'lAKAMORI, 99 TANGEI, 342
'TAKANABE 区IOSAIT 370 fee a
| Tancen, 278, 281
 INDEX. — 549
TANGENSAI 311 Teikan dzusetsu, 154
TANGENSAL Moritsunf, 308 TISAI, 382, 386
TANGETSUSAI MORIYOSHI 807, 310 TEISAI Hoxusa, 3867
TANGIU, 282 TrisEr, 198
TANT, 195 Tekkai Sennin, 54, 55, 294, 299, 394, 496
TANI Buncno, 241, 242, 271, 278 TKI SANGEN, 226
TANI MoRIYoSHI 310 Téxr (Ichikawa), 190
TANIGUOHI Gusso, 193 Trmmin, 192, 450, 455, 456
Tangr, 281 Temple Guardians, 68
Tanj5 no Shaka, 61 Tengu, 84, 410
Tanka, 317 TENHO, 318
TANKOSAI GISHIN, 322 Tenjin Sama. See Kwanshojo.
TANO CHIKUDEN, 192 TENKAI O, 448
TANREI, 251 TENKAIKUTSU, 448
Tanrio, 281 Trnrit Dosrn, 192
Tangit Mortrama, 3807, 323, 324, 462 Tenriugawa, 460
TANSAI Herat, 256 TENSEIITSU, 229
TANSAI MoRIDZUMI, 309 TENSHIN, 283, 316
Tansat TOsut, 307 Trnstuwo, 194
TANSAI YEICHI, 309 Térv, 449
TANSAKU, 306 Térunosu, 311
TANSEI Giosa Srlirsu, 227 ThruyuKt, 345
TANSEI Mortraka, 307 TESSAN, 416, 427, 428
TANSHISAT, 302 TrssHiv, 180
TANSEN, 282 Trrsuaal, 419, 427, 442
TANSENSAI SHINBUN, 322 TETSUZAN. See TESSAN.
T'ansETsu, 281, 296 TETSUHO, 461
TANSHIN, 281, 295 Trrsuwo, 192
人 ANSHINSAI Morimicat, 284, 314 Thirteen Buddhas, 72
TANSHOSAI, 324 Thirty-six famous Poets, 3802
'TANSHUNSAS, 281 Thousand Carp, 240
Tansul, 464 Thousand-handed Kwanyin, 64, 80
TANSUISAI, 253 Three Laughers, 286
Tanuki, 169, 424 Three Sacred Relics, 70
TANYENSAI HoaEy, 311 Three Sages, 199, 509
TANYENSAI Morizanh, 284, 323 Three Visions, 86
Tanyt, 276, 280, 289, 290, 291, 292, Three Wine Tasters, 323
294, 313, 316 Thunder animal, 169
Tanyosar, 280 T’ieh Kwai. See Tekkai.
TANZAN, 281 | Tien Chén, 179
T’ao Yiienming, 204 T’ien King, 179
Tat Rrorat, 187 Tien Kwang, 179
Tatsu. See Dragon. Tiger, 51
Tarsumasa Rarto, 349 Ting Lan, 174
Tatsunosu, 806, 811, 323 Tisang. See Jizo.
Tawara Toda Hidésato, 169 ToAN, 268
TAWARAYA Korftosai, 102 Tosa, 241, 825, 465, 485, 517
Tchandra, 68, 75 Tosa S0s0, 156
Tchintimani. See Mani. TOBAT 266
Trt, 188 Toba-yé, 156
'TEHIBAT, 187 TOBEI SuIGETSU, 267
TFIGORIG，190 Toboxu, 267
Teikan, 174 Tobodsaku, See T’ung fang So.
590 INDEX.

Tochii, 43 Tort Bussut, 4, 94

Tocuo, 154 Torii Kiyomasu, 388
TOpDEN, 266 Torii Kryomitsu, 341
TOGAKUSEI SHIKIO, 431 Torii Kryonaaa, 830, 342
TOaan, 267 Torii Kryonosu, 830, 838
TOGEI, 268 Torin (Haségawa), 268
ToaEn, 183, 2381 TORIN, 194, 230, 366
Toetoxu, 817, 465 ToRIYAMA SEKIYEN Tovyorusa, 278, 344
Toua, 268 Tortoise, 203
TOHAKU, 231, 268 Tosa Artists. See list, pp. 98-103
TOHAKU AIsHtIn, 310 Tosa Giosu no TAIYU Mitsunaaa, 139
TOHAKU (Haségawa), 268 Tosa Hirocurca, 100
TouHan, 271 Tosa Hrromicut, 127
TodHO, 2382 Tosa JAKUSAI, 99
Touon, 185 Tosa Jakuyo, 101
Tos. 274 Tosa Kunivaka, 99
TodstRo, 871 Tosa MASAKUNI, 132
Tosru, 142, 268 Toss MITSUAKI，99
TOKAN, 265 Tosa Mirsudtrsu, 102, 103, 123, 153
Toxet, 187, 271, 364, 463 Tosa Mrrsusumt, 103
Toxt, 418 Tosa MirsucurKxa, 100
ToKI TomiKaGh, 182 Tosa Mrrsunipf, 99
ToxiAtsu, 188 Tosa Mrrsuuiro, 100
Toxr1nosu, 129, 282, 818 Tosa Mrrsuxrxo, 103
ToxKITARO, 354 Tosa Mitsuxtryo, 463
ToKITARO Kaxo, 850 Tosa Mirsuxunt, 100
Toxitsu, 462 Tosa Mrrsumoto, 101
Toxiu, 450 Tosa MITSUNARI, 101, 120
Tokiwa, winter flight, 244 Tosa Mrrsunosu, 100
TOKO, 266, 432 Tosa Mrrsunort, 101
ToKoxu, 187 Tosa Mirsvdxt, 101, 122
Toxoxu FustwaRa No SHUNRIO, 68 Tosa MrrsusapA, 102, 129
TOKOsat, 310, 464 Tosa Mrrsusuic#, 100, 101, 150
Toxu, 449 Tosa MitsusuKh&, 102, 122
Toxu, 267 Tosa Mrrsusuy#, 100
Tokuhon Gidja, 76 Tosa MITSUTOKI, 102
ToxusEI, 180 Tosa Mirsuyosui, 102, 122, 137, 463
ToKUTAR0, 371 Tosa MITSUYUKI, 462
TOKWASAI, 230 Tosa NAGAAKI, 99
Toxwasal Retyo, 280 Tosa NAGAHARU, 99
ToMIGAWA Fusanosu Gincrtsu, 342 Tosa NacataKa, 99, 143
Tomikach, 182 Tosa Suxéyasu, 100
Tomin, 447 Tosa TAKACHIKA, 89
Tomonosu, 282, 283 Tosa TAKAKANK, 99
Tomoyé Gizen, 390 Tosa T'aKamitsu, 99, 127
Tonan, 189, 411 Tosa Takamort, 99
Tongue-cut Sparrow, 890 Tosa TaKxasukh, 99
ToNoMO-NO-sUKE, 189 Tosa TsuxbraKa, 99°
Tora, 51, 383 Tosa Yosuimitsv, 99, 101
TorRAN, 240 Tosa YuK1HIph, 100
Toret, 464 Tosa YuxKrurro, 100
Tore (Hijikata), 187 Tosa Yuxrmitsv, 99
Toren, 209 Tosa YuxKrmort, 100
 INDEX. 551

Tdsat, 186, 230, 252, 267 Ts’ai Lwan and Wan Siao, 58
Tésar (Inagaki), 208, 240 Tséng Shén, 175
TOsaKka, 195 Ts’ai Shun, 178
Tosan, 461 Ts’ao Tsao, 880
Tosatsu, 267 Tsao 'l'sze. See Saji.
ToshxK1, 266 TSTEN SHUNKU, 517
TosEn, 231, 246, 258, 272, 464 Ts’in NGANSUN 8ze-1, 502
TOsEN MAYEMURA Culsoxu, 246 Ts’inc CHANGTANG, 512
TosEN HocEn (Kano), 298, 311 TSTNG Hoyvtien, 517
TOsETsU, 259, 268 TS:TUTING Yusune, 505
Tosretsu YTsuHtn, 443 TSUBO 'TosHimitsu, 845
Tosut, 506 Tsuchigumo, 140
TosHimitsu, 345 TsucHiz0, 182
TosHIG, 230, 419 Tsugen. See Chokwaro.
Tosuit (Murakami), 419, 431 Ts’ui She, 176
TOsHIT SHIREI 885 TsugimuRA Monet, 832
TOsHITKI, 834 TSUKIOKA TANGEI, 342
TOSHIDSAI SHARAKU, 345 TsunamMuNnE, 234
TosHo, 485 TSUNEHIRO，143
TosHun, 183 TsuNEKAWA, 283
Tosuun YoSHINOBU, 282, 302, 303 TsunEmasu, 100
Toso, 281 TsunENoBu, 276, 281, 294, 295, 444
Tdsur, 807 TSUNENORI,， 9, 10, 95
Tore: Hoxusul, 367, 393 TsSUNENOSHIN, 189
TOTEI Norinosv, 319 TsunéTaKa, 95, 99
TorkK1, 268 TsuURUKAWA, 282, 239, 464
Toroxr Baiean, 190 TSsURUKAVWA ToaI, 282
TotsuAn, 184, 266 Tsutsumi Tos1, 271
Totn, 276, 282, 298, 317, 321, 327 . Tsutsumi Torin, 366
Toya, 3865, 366 ; Tsutsumi TosH10, 230
Toyei, 176 TsUYAMA No JOSHIU, 282
TOYEI, 438 Tsz Cuao, 510
TOYEKI, 267 TSszE Cuune, 512
Toyemmei, 204 TszE CHUNG CHAO, 505
TovEn, 280, 417 TSszE CHuNGCHAO, 488
TOyETsu, 267 Tsz’ Cu’wana, 464, 519
Toy6, 183, 265, 417 Tsz’ Kraonin, 508
Toyo, 267 TSsz Mao, 465
Toyorusa, 344 TSsz Tune, 465
ToYOHARU, 347 Tsz Ying. See Shiyei.
ToyoniKko, 418, 438 Tung-fang So, 58, 201, 295, 325, 515
Toyouiro, 347 Tung Wang Kung, 32
Toyounisa, 150 Tung Yung, 176
Toyoxo, 194 TuNnepd, 485, 517
ToYoKUNI， 348 Twelve Animals, 152
ToYOKUNI THE Second. See KunisapDa. Twelve Déva Kings, 68, 87
ToxoNoBU (Utagawa), 344 Twenty-five Bédhisattvas, 74, 81
Toyonosu (Ishikawa), 342 Two Déva Kings, 76
Toyotama Himé, 50 Two-mouthed woman, 169
Tozan, 229, 462
TozEN, 266 U.
Ts’ao Fun-HING, 482 UdHIDA DEnNyYEI, 234
Ts’ao Kwohk’iu, 55 Ucnipa GEnTATI, 205
 552 INDEX.

Upa, 8, 19 WV:
Uga no Kami, 42 Vach, 41
Ueimura Yuutro, 92 Vadzra, 69
Uji, 421 Vairdtchana, 72, 78, 83
Ustnosv, 280, 282 Vais’ramana. See Bishamon Ten.
Uké mochi no Kami, 42 Vajrabuddhara, 47
Ukiaku. See Rishi. Vampire bride, 169
Uxtyo, 279 Vanabhas, 47
Ukiyo-yé Riu, 828, 872 Varuna, 70, 77
Uxon, 279 Vasu Déva, 69
Unea, 371 Vasudhara, 79
Unet, 192 Vimalakirtti, 270
UNKEI, 266
UnKIN, 2538, 255, 259
Unxoxu, 264, 265 W.
UNKOKU Tonan, 271 Waatoxu, 182
Unxoxvu TOKEI, 271 Wagojin, 223
UNKOKUKEN, 265 Waewa Rit, 95
Unpo, 258, 266, 482, 461 Waka mékari no jiuji, 303
Unsen, 190 WAKAGI RAnpEN, 188
UNSHO, 418, 518 Wakashi bagnio, 874
Untan, 195, 260 Waku, Ix no Kamt, 182
UNTEI, 232, 254 Wan OHIN, 488, 498
Unto, 255 Wang Chih, 107
Unto Sensei, 224 Wane Cuinemina, 488
UnyeEI, 232 Wang Hiche, 314
Unzan, 191 Wane Lrenpoun, 488, 499, 510
Urashima, 105, 142 Wang Ngai, 177
Urakami Gioxupo, 191 Wang Siang, 175
Ura Kacimasa, 466 Wane Ts’uEn, 486, 495
Utacawa 玉 UNITOSHI 389 © Wane WET, 488, 485
UTAGAWA Kunryosut, 367 Wane Ytenmine, 501
Utacawa KunisabDA, 366, 394 Wang Chu, 59
UTAGAWA ToyoHaru, 347 Watanabe (or Ucutpa), GENTAT 198
Uracawa Toyoutro, 347 WATANAB8 Dzusno Naorkru, 151
UTAGAWA Toyoxunl, 348 WATANABE GENTAI, 238
UTAGAWA ToYoKUNI THE SEconD. See WATANABE Kwazan, 193
KUNISADA. WatanaBh Nanaaku, 416
Utacawa Toyonosu, 344 Watanabé no T'suna, 60
Utacawa Yosuitsuna, 368 Wave birds, 301
Uramaro, 345 Weén Ti, 174
UTAMARO THE SECOND, 345 White Path of the Two Rivers, 80
Ura-no-suk& (Kano), 274, 276, 278, 287 Wu. Chi 'I'sz’, 58
UTA-NO-SUKE GANTAT, 453 Wu Méng, 58, 180
~ Ura-no-suxé Ganku, 448, 452 Wu Taotsz’, 68, 89, 483, 519
Uta-no-sukit GANRIO, 449 Wu Ti, 221
Uwabami, 444 Wu Ts’uen, 58
UWABAYASHI SEISEN, 398 Wu Yiin, 378
Uwoya HoxxeEt, 367
UYEDA Kocutu, 431
ia
Uyésugi Kenshin, 131
Uzayinmon, 190 Yast Kogoro, 196
Uzumé no Mikoto, 399 Yacuo, 416
 INDEX. . Doe

Yajin, 475 YEITOKU, 276, 279, 288, 306

Yama, See Yemma Ten, YEryo, 386
Yamaitro Kaxurel, 416 YEKISHIN, 282, 293, 317, 462
YAMADA Doan, 266 Yemma Ten, 68
YAMADA Kriuso, 189 Yemmei Son, 81
YAMAGUCHI SEKKEI, 227 YEN, 188
Yamacucui Sosun, 436 YEN LIPUN, 483
Yamagoshi no Niorai, 67 Yen Liven, 483
Yamahito. See Rishi. Yen T'sze, 178
Yamamoto Batitsu, 191 YENBU, 450
Yamamoto DENROKU, 337 YENKO, 227
Yamamoto Koi, 280 — YENTAN, 189
Yamamoro Rivet, 3382 YIHYUN KaoxiEn, 503
YAMASHINA RikEI, 189 Yiu. See also YT.
Yamato School, 95 YIOHI 233
Yamato-Daké, 70, 141, 166 YIUHIO, 460
Yama-uba, 428 Yiuma Koji, 270
YAMAZAKI Kisut, 194 YIURIOSAI, 427
YAMAZAKI Ktryv, 3865 YIUSEN, 463
YAMAZAKI Unzan, 191 YIUSHTI 459
YANAGAWA SHIGENOBU, 368 YIUZAN SENSHI, 283
YANAGISAWA KryeEn, 186 YO, 190, 192
Yang Hiang, 176 . Yosoxku, 281
Yang Kweifei, 211, 802 Yosun ToKUKIO, 515
Yasha Daikoku, 34 -Yoven, 464
Yashima, Battle of, 142 Yoru, 266
YASHIMA SADAOKA，370 YOruxu, 3
YASUDZUMI Nosa, 216 YodaeEtTsu, 182, 248
YASUKUNI, 339 Yoaroku, 233
Yasunosu, 276, 281, 292, 327, 365 Yoad, 129
Yasu-w0, 336 Yor Fusrwara IDEN, 225
YAYEGAWA Gore, 418 Yojc 165 \
Ve beae > Xei..:. For names Yoxer, 267, 308 ‘
f

beginning with these syllables, see Yokihi, 211, 302

alsounderE....,Hi.... YOO, 320 3
YEDA CHIKUKOKU, 486 Yok6, 176 :
YeErcut, 309 了YOKOKU, 488 i
YEIFUSAI, 266 Yoxoyama Kwazan, 449, 456
YEIGA，100 Yonrézo, 371
YEIGAKU, 308, 462 Yorimasa, 389
YEIHAKU, 282, 308 Yorimitsu, 109, 111, 143, 429
YerKal, 193, 223, 252, 260 Yoritomo, 377
YEINO, 281 Yoriyoshi, 126
YEISAT, 133 Yord-no-taki, 402
YEISEN, 275, 283 Yosat, 415, 419, 485
YEISEN (Keiho), 296 YosEN IN Horn, 284, 297
YEISEN (Keisai), 365 Yosetsu, 194, 278
YEISHI, 278, 288, 3809, 345 Yosut, 191
YEISHIN, 292, 293, 310 Yosuipa YENBU, 450
YEISHIN Tatsunosy, 311 YosHruipk, 21
YexIsHO, 253 YosHIHISA, 12
YEIsHUN, 304 Yoshiiyé, 804
YEITAKU, 371 YosHikank, 3438

:a
e
e
e
ee
554 | INDEX.
YosuHimasa, 181 YuKAnsal, 183
Yosurmitsu, 99, 101 Yuxrinipi, 100, 127
YosHIMOCHI, 23 YuxKruiro, 100
YosHimoro, 186 YUKIMITSU, 99
YOSHIMURA Koxet, 214, 416, 461 YUKEIMORI, 100
YosHIMURA SHIUZAN, 278, 283 YUKINAGA,， 98
YOsHIn, 272 Yuxinosu, 274, 278
YOsurn, 809 Yukinro, 178
Yoshino, 432 YUKITADA, 12
YoSsHINOBU (or GIsHIN), 302 Yune Tren, 464
YoSHINOBU Tosuun, 282, 302, 517 YUNGYUEN Terko, 515
Yosurnosu (or YusuHiy), 302 Yorer, 461
YosHITaDA, 370 YUSAITERU,， 459
YosHITakI, 868, 383 Yoser (Saikisris), 480
YOsHITOKI, 3868 Ytset (Kano), 274, 284, 811
YosHriTora, 868 Yisun, 267
YogHITOSHI,， 368, 383, 444 Yisersu, 280
YOsHITSUNA, 368 Yisersu, 278
YOSHITSUN包 99 YDSHIN,， 282, 2838, 448
Yoshitsuné, 116, 320, 372 YUsuo, 279, 288
YoSHIYUKI, 247 Yusuxh, 343
Yor, 200 Yorer (Ishida), 412
YOYEN YOsHITADA, 370 Yorer, 461
YOzan, 253 Yoroxv, 461
Yozan (Hamachi), 192 Yoyuixr, 280
XG... Bee alsa Niu. «2. Yoyversu, 339
Yu, 188
Yii the Great, 124, 289 Z.
YuJan g, 165
YE K’ienlow, 178 ZAIcHIU, 194
Yiian Chow, 108 ZAIMET, 194, 483
Yiian Chwan, 222 ZAIsHo, 194, 483, 463
YUcuixku, 1438 ZHAN, 183
YUCHIKU, 463 ZENRAKUSAL 了 OSEN HoaEnN, 298
Yin OHAo, 488, 501 Zengo Riu O, 88
Yiien Tsung, 216 Zenzai, 44
Yuiin Yrne, 485 ZOosoII Dat §0J0, 67
YEcAKU, 192 ZeSHIN, 419, 487, 439
Yuu Kien, 487 ZuiaaKu, 143
Youo, 317 ZUISEN, 283
Yujin, 475 Zuirei, 44
Yusrro, 92 ZoRoKv, 233

LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD STREET

AND CHARING CROSS.
 BY THE SAME AUTHOR.

THE PICTORIAL ARTS OF JAPAN.

ILLUSTRATED WITH EIGHTY PLATES.
Executed by Chromo-lithography, Photogravure, and Japanese Engraving on wood
and copper; and a large number of woodcuts, &e., printed with the Text.

CONTENTS.
Section I—GENERAL HISTORY OF THE ORIGIN AND DEVELOPMENT OF
JAPANESE ART.
» I1.—PicrorraL ART: ITS VARIOUS Forms anD APPLICATIONS.
» III.—TEcHNIQUE.
» LV.—CHARACTERISTICS,
Appendix.—Cuinesg 了 IoTORIAL ART: OUTLINE OF History AND CHA-
RACTERISTICS.
Artists’ proof copies, £12 12s,; Ordinary copies, £8 8s.

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 aSi VF CURL
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HO-GEN FURU-KAWA So hifsu. TSUNE-NOBU. TSUNE-NOBU. TSUNE-NOBU Attsu.
Seals. YO-BOKU. TSUNE-NIBU NO in. HO-IN FURU-KAWA hitsu.
FUJI-WARA. U-KON, U-KON. Seals.
YO-BOKU. FUJI-WARA.
YO-BOKU. FUJI-WARA.
KAN-UN-SHI.

SPECIMENS OF SIGNATURES AND SEALS OF KANO TSUNENOBU. From the Gwako Senran.
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Signature. NOBU-KATSU 70 in. Signatures. KUN-JU.

HOKU-SO IT-OHO. GI. KIU-SO-DO RI-JIN CHOKO hiisu. CHO-YEN IK-KIT.
Seal. ? Seals. HOKU-S0-W0.
SHIN-JIN 70 in. TAKU-YU. Omomuki.
Signature. san un sansekt.
HANABUSA ITCHO hitsu. no aida ni art.
“The meaning lies between the
clouds on the mountain top and
the stones in the river bed.”
SPECIMENS OF SIGNATURES AND SEALS OF HANABUSA ITCHO. From the Gwako Senran.
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